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[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]
Southern Pacific Railway Post Office #12, Travel Town, Griffith Park, Los Angeles, California
This narrowgauge truck set, cast in Sacramento, CA by Southern Pacific, is one of two designs of 're-gauge-able' trucks on display inside the Travel Town Museum building. The wheels can be detatched from the replaceable axle by four bolts within the inside face, and a new beam can be cut from wood for the bolster support and kingpin. The sliding bearings on the end of each axle predated roller or ball bearings, and could generate a great deal of heat from friction. Hopefully the grease packed under the hinged covers was warm enough to liquify and penetrate the bearing gap. One of the primary reasons a caboose had bay windows or a coupula above, and it's placement at the end of the train, was to keep a vigilant watch for the "hotbox" - an improperly lubricated bearing would cause excessive wear, or start a fire!
Notice that there are no springs in this design, any spring action is from the steel and wood supports.
The axles and crossblocks on this Southern Pacific Railway Post Office #12 bogie truck are fabricated of wood a design to facilitate re-gauging this 3' narrow-gauge truck to standard gauge 4'8½". The trucks are unsprung, which is to say the design does not incorporate springs, and there is a very narrow bolster around the kingpin. So, in addition to feeling every gap in the uneven and wavy rail, swaying and rocking was magnified at speeds above 12 miles per hour - working to precisely sort mail along the route was a very uncomfortable occupation.
SOUTHERN PACIFIC RAILWAY POST OFFICE #12
BUILT: c.1880 BY CARTER BROTHERS
WEIGHT: 13 TONS
LENGTH: 43'
DONATED: 1960 BY SOUTHERN PACIFIC RAILROAD
This pre-20th Century, wooden car was put to a variety of uses by its owners: caboose, baggage car, railway postal car, and most notably, a baggage-mail combination. Mail transportation by rail had existed as long as the railroads themselves. In Britain, mail was already being sorted within rail cars in the late 1830's. This practice was imitated on a few American railroads, but came into widespread use only after the Civil War. Perhaps no more efficient mail system could have existed than that of the railway postal system. Both local and long-distance trains included a car equipped with pigeonholes, sorting bags and tables, cancellation stamps, and one or more frenzied clerks trying to sort a bag of mail picked up at one station, before arriving at the next station each would be only ten or twenty minutes down the road. Early in their history, these railway postal cars (RPO's) shared space with express baggage service. Later, as the system grew more elaborate, entire 60- or 80-foot RPO cars were specially built for that purpose, and resembled small versions of a post office.
As with other aspects of railroading, RPO cars and their clerks have a lore all their own. The metal arms which swung out from the side of the car to catch a hanging mail bag when the train was not scheduled to stop at a station are collectors items, as are any existing cancellation stamps. Clerks carried guns for protection against outlaws wanting to steal the mail. In the first decades, clerks worked on cars furnished either with fire-causing wood stoves or without any heat at all. Doors could not be left open for security reasons, so the cars were barely ventilated in the summer heat. If they
had toilet facilities at all, they were crude and rarely private. Sometimes a lone clerk, sometimes a handful of men tripping over and stepping on each other, slaved at sorting and canceling mail, catching a new bag every twenty minutes, and simultaneously kicking off a bag sorted for that stop.
By the 1960's, railway mail, like railway passenger service and some railway freight service, was failing in favor of air transport of mail. The last RPO ran between Washington D. C. and New York in June 30, 1977.
dsc00673, 34.154469,-118.307759, 2009.10.18 16.40.54, 3D, Los Angeles, Griffith Park, Travel Town, Southern Pacific Railway Post Office #12, Trucks.jpg
www.bangalorebreakdown.com/music.html
At Joe's Pub with Bangalore Breakdown.
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Play the music, not the instrument. ~Author Unknown
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“Any great art work … revives and readapts time and space, and the measure of its success is the extent to which it makes you an inhabitant of that world - the extent to which it invites you in and lets you breathe its strange, special air.”
― Leonard Bernstein
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"You are the music while the music lasts. "
-T.S. Eliot
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"Music is Magic. Magic is Life"
-Jimi Hendrix
(part of an unfinished song discovered after his death)
***
www.flickr.com/photos/42514297@N04/sets/72157632988389457...
View “A Life Of Music - to be cont.'d ...(with GRATITUDE!)” slideshow
www.flickr.com/photos/42514297@N04/sets/72157635185040413...
View “Photos for Media” slideshow
For both: Click on 'Show info' to see captions w' slideshow – Click on ‘Options’ to control speed
For slow “animated” slideshows click the double rectangle at the top right side of "set"- album page of choice.
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World / Jazz / Experimental / Improv / East-West / Ambient / Pop
PREMIK RUSSELL TUBBS
Looking for music for your film or project? Let’s talk...
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__________________
Contact/Listen
www.emusic.com/album/premik/mission-transcendence/10884302/
en.wikipedia.org/wiki/Premik_Russell_Tubbs
New music coming soon!
__________________
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Premik, a composer, arranger, producer and an accomplished multi-instrumentalist performs on various flutes, soprano, alto and tenor saxophones, wind synthesizers, and lap steel guitar.
Premik has worked with everyone from Carlos Santana, Whitney Houston, Herbie Hancock, John McLaughlin, Ravi Shankar, Narada Michael Walden, Clarence Clemons, Ornette Coleman, Jackson Browne, Jean-Luc Ponty, Lonnie Liston-Smith, Scarlet Riveria, James Taylor, Sting and Lady Gaga, just to name a few. He is equally adept in pop, R&B, jazz, world and experimental genres.
Sax solos on #1 Hits -: “How Will I Know” (Whitney Houston) and “Baby, Come To Me” (Regina Belle).
Premik's first major recording breakthrough was with John McLaughlin and the Mahavishnu Orchestra on the album“Visions of the Emerald Beyond.” Premik was a major part of the landmark Carlos Santana album "The Swing of Delight" which featured Herbie Hancock as co-arranger and co-musical director. Also featured were Wayne Shorter, Tony Williams, Ron Carter and several members of the Santana band.
www.premik.com/recordings/discography/
New music coming soon!
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YouTube -DEVADIP CARLOS SANTANA ~~ HANNIBAL ~~ 1980
Russel Tubbs, saxo
Devadip Santana, guitar
All photos LIFE Magazine
www.youtube.com/watch?v=lv_jsp_43h0
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Most recent recordings and projects:
In 2012 Premik recorded with 2011 Grammy nominee vocalist and composer Chandrika Krishnamurthy Tandon. 'Over 75 musicians came together to record the album in the US and India combining ancient traditional instruments like the rhumba, calypso, ektara, dugdugi and esraj with saxophone, banjo and piano to transcend musical boundaries.'
www.indianexpress.com/news/chandrika-tandons-new-album-in...
Sound Samples: www.amazon.com/Soul-March-Chandrika-Krishnamurthy-Tandon/...
www.cdbaby.com/cd/chandrikakrishnamurthyta2 Check out "JOG"
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Recording projects in 2010-2012 with Grammy award-winning producer and founder of Windham Hill Records Will Ackerman include albums by Fiona Jay Hawkins, Shambhu, Dean Boland, Rebecca Harrold, Ronnda Cadle and Masako.
Will Ackerman: ...‘The criteria for who works here go way past simple talent. Imaginary Road is my home and I’m only letting wonderful people into my home. I don’t care how talented you are; if you’re not able to wear your heart on your sleeve don’t bother to turn up. We use Keith Carlock (Sting and Steeley Dan) as a drummer too along with Arron Sterling (John Mayer and Sheryl Crow). Only last year I met Premik Russel Tubbs who plays sax and wind synths for us.
‘Premik has become part of the family...'
www.newagemusicworld.com/will-ackerman-interview-new-in-2...
imaginaryroadstudios.com/
*****
Premik plays on both of these albums
Winners in 2013
10th Annual ZMR Awards
Album: Masako
Artist: Masako M. Kumano
Award Category- Best New Artist
Premk with Masako: played wind synth on Secret Path to Point Reyes (track 3)
Album: Dreaming of Now Best
Artist: Shambhu
Award Category: Contemporary Instrumental Album
Premik with Shambhu: alto flute on Dreaming of Now (track 4) and wind synth on Jasmine (track 10)
www.zonemusicreporter.com/admin/2013award_finalists.asp
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Premik recorded with Heidi Breyer and accompanied her at the ZMR Awards 2013, staged in New Orleans.
www.zonemusicreporter.com/admin/performers.asp
ZMR Awards 2013 -Best Instrumental Album – Piano - “Beyond the Turning” - Heidi Breyer - Winterhall Records, produced at Synchrosonic Productions by Grammy winner Corin Nelsen. www.heidibreyer.com/
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New Age / Ambient / World Top 100 Radio Chart
ZoneMusicReporter.com
Top 100 Radio Play - #1 Top Recordings for January 2014
Title: Call of the Mountains - Artist: Masako
www.zonemusicreporter.com/charts/top100.asp
Premik plays wind synth on tracks 4 "Watching the Clouds", & 9 "Purple Indulgence".
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Premik, in conjunction with jazz pianist Uli Geissendoerfer heads Bangalore Breakdown, an exciting, world music ensemble. They released their first CD, titled Diary, in 2008. In the words of noted Jazz author Bill Milkowski: Is it world music? Is it jazz? Is it some kind of new uncategorizable fusion that hasn’t yet been labeled?
Sound samples here: www.bangalorebreakdown.com/music.html
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Premik and Uli Geissendoerfer will soon be releasing their own collaborative duo CD titled Passport to 'Happyness' (yes, happiness with a 'y'') www.ulimusic.com
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Premik will soon be featured in Carman Moore's Cd “Concerto for Ornette” in which Premik will play the orchestral solo saxophone part. Premik is also the featured saxophonist with SKYBAND on its recording of Carman Moore’s “DON AND BEA IN LOVE,” a fantasy concept album roughly about the intense Renaissance love between Dante and Beatrice which, in part, takes place in outer space! Carman Moore is a 2013 Guggenheim Fellowship winner. www.carmanmoore.com
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Premik’s ‘Journey To Light Ensemble’
Sound is East/West, jazz., a journey....
With Premik Russell Tubbs (saxpohones, flutes, lap steel, wind synth),
Dave Phelps (guitar),
Leigh Stuart (cello),
Nathan Peck (upright & electric bass),
www.alexskolnick.com/biography-nathan-peck/
Todd Isler (drums, percussion)
Naren Budakar (tabla)
www.sooryadance.com/html/Milan/naren.htm
Watch for a Journey To Light Ensemble album to be released in 2014
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TriBeCaStan
Premik (saxophones, flutes, lap steel, wind synth)
***
Performing in:
25th Anniversary of the Rainforest Fund Benefit Concert
Thursday, April 17, 2014
Carnegie Hall
Stern Auditorium / Perelman Stage
7 PM
www.carnegiehall.org/Calendar/2014/4/17/0700/PM/25th-Anni...
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Premik Russell Tubbs - solo with the London Royal Philharmonic -YouTube
And Premik is performng in SINGING THE OCEANS ALIVE CONCERT WITH THE ROYAL PHILHARMONIC CONCERT ORCHESTRA LONDON, ENGLAND APRIL 25, 2014
YouTube
'The first youtube appearance of my performance with the Royal Philharmonic Orchestra @ Fairfeild Hall in Croydon, England on April 25th. The piece is called "Apla Kathar". The main melody was composed by Sri Chinmoy & orchestrated by Vapushtara Matthijs Jongepier.' -Premik
www.youtube.com/watch?v=cQxnO3Da8rc
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Premik will guest and record with the Five Toe Dragon
Premik Russell Tubbs with the Five Toed Dragon @ the BeanRunner Cafe 04/18/2014
YouTubes 4-18-2014
www.youtube.com/watch?v=spkxaVteX08 Set 2 0f 2
www.youtube.com/watch?v=JSI-ZwekM-Y Set 1 of 2
The sound of the Five Toed Dragon can be described as electro-acoustic featuring a distinctly original blend of styles from jazz, classical and ethnic music.
J. ERIC JOHNSON
F. CARTER HOODLESS
BRIAN LEE
Regular guest artists will include Charles Burnham/violin and Premik Russell Tubbs/ saxophones, fultes, wind synth
All are long time members Carman Moore ’s the Incredible Skyband and/or Skymusic Ensemble.
Carman Moore is a 2013 Guggenheim Fellowship winner.
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BeanRunner Cafe
A wonderful venue!
Owners Ted and Drew are true champions of the arts.
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Using Flickr – if not signed in (may differ if signed in)
1. www.flickr.com/photos/42514297@N04/sets/72157632988389457...
-Slideshow – Album Set, A Life Of Music - to be cont'd. ...(with GRATITUDE!)
(Click above link and once in the SLIDESHOW click on (upper right) 'Options' to control speed & Show Info’ to see captions w' slideshow
2. To the right of any photo – click upon the oval icon with Premik’s photo to go to the full page of all photos posted (the ‘Photostream’) or the X in the upper right corner to return to the full page of the Set album you are in
3. Click the small rectangle icon to the right of the full album ‘set’ page to see the SLOW ‘ANIMATED’ slideshow of photos within the album
4. To see individual photos –just click on any photo you would like to see from the full page. Caption will appear to the right
5. Scroll down the caption until you see small thumbnail sized photos – click the 3 dots directly under these photos- Click on ‘Download / All sizes’ to see photo enlarged
This will allow you to enlarge the photo you are viewing (or click to see as a slideshow as in #1.)
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Description stolen from the internets...
The Owens-Thomas House is located at 124 Abercorn Street in Savannah, Georgia.
The Owens-Thomas House was designed by William Jay, a young architect from England. Construction started in 1816, and was completed in 1819. The home's first owner was Richard Richardson, a wealthy banker and cotton merchant. He only lived there for three years, when he had some financial troubles and lost the house.
Mrs. Mary Maxwell was the home's next owner. She lived there for eight years, and rented out rooms to people visiting the city. One of her most famous guests was the Marquis de Lafayette, a Revolutionary War hero from France. He addressed the city from the house on March 19, 1825.
In 1830, the house was purchased by George Welshman Owens for $10,000. Owens was a lawyer, congressman, and mayor of Savannah. His family owned the house until 1951.
In 1951 Margaret Thomas, George Owens's granddaughter, donated the house to the Telfair Museum of Art. The house has been operated as a museum ever since then.
In addition to the home's rich history, it also has its own ghost story. Many believe that the ghost of Margaret Thomas resides at the house. She always loved caring for her garden, and today many visitors have seen a ghostly lady walking through the garden at night. Her ghost is also seen in the house's parlor, sometimes looking out the window.
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Wolf Pack Invite 09/27/08
River Walk Park - Bakersfield, CA, Wednesday, September 27, 2008
www.andynoise.com/wolfpack08.html
Chris Schwartz (Foothill) won the varsity boys race in 16:18. McFarland took the team title. McFarland also won the boys frosh/soph and jv team races. medals were given out to the top 15 runners.
Varsity Boys Team Results
1 MCFA McFarland 25
2 PADA Palmdale 95
3 RIDG Ridgeview 118
4 SHAF Shafter 130
5 BAEA East Bakersfield 142
6 BAKE Bakersfield 174
7 WASC Wasco 176
8 STOC Stockdale 210
9 FTHL Foothill 233
10 GARC Garces Memorial 254
11 ARVI Arvin 321
12 NORT North 324
13 Fron Frontier 345
14 SOUT South 404
15 BACH Bakersfield Christian 423
16 WSTB West Bakersfield 461
TFCC Taft INC
1. 16:18 179 179 Chris Schwartz Sr M FTHL 1
2. 16:29 292 292 Cisneros Alfonso Sr M MCFA 2
3. 16:38 450 450 Robby Baker Jr M RIDG 3
4. 16:44 297 297 Marco Perez So M MCFA 4
5. 16:48 293 293 Eduardo Bautista Jr M MCFA 5
6. 16:51 294 294 Marco Camargo Jr M MCFA 6
7. 16:54 451 451 Alex Garcia Jr M RIDG 7
8. 16:56 291 291 Gerardo Alcala Sr M MCFA 8
9. 16:58 295 295 Eddie Garcia Sr M MCFA 9
10. 17:04 296 296 Francisco Nava So M MCFA 10
11. 17:05 483 483 Joshua Wittenberg Sr M SHAF 11
12. 17:10 402 402 Adrian Ramos Jr M PADA 12
13. 17:16 400 400 Victor Hernandez Sr M PADA 13
14. 17:19 72 72 Andrew Ariey Sr M BAKE 14
15. 17:20 403 403 Daniel Ramos Jr M PADA 15
Elizabeth Wittenberg (Shafter) won the girls varsity race in 20:10. The Ridgeview varsity girls won the team title. Palmdale won the jv race and McFarland won the frosh/soph team title.
Varsity Girls Team Results
1 RIDG Ridgeview 45
2 SHAF Shafter 73
3 PADA Palmdale 94
4 NORT North 95
5 STOC Stockdale 124
6 FTHL Foothill 142
7 BAKE Bakersfield 142
8 GARC Garces Memorial 189
9 Fron Frontier 243
10 SOUT South 278
BAEA East Bakersfield INC
ARVI Arvin INC
WASC Wasco INC
TFCC Taft INC
WSTB West Bakersfield INC
BACH Bakersfield Christian INC
1. 20:10 464 464 Elizabeth Wittenberg Sr F SHAF
2. 21:04 430 430 Tijerra Lynch So F RIDG
3. 21:07 369 369 Merino Jennifer Sr F PADA
4. 21:10 428 428 Jessica Huizar Jr F RIDG
5. 21:12 89 89 Lucia Garcia Jr F BAEA
6. 21:17 208 208 Monica Guzman Jr F GARC
7. 21:23 330 330 Cecilia Lopez Sr F NORT
8. 21:33 90 90 Sophia Garcia So F BAEA
9. 21:35 136 136 Natalie Fernandez So F FTHL
10. 21:46 2 2 Tonya Hernandez Jr F ARVI
11. 21:53 624 624 Alejandra Gutierrez Sr F WASC
12. 21:55 372 372 Anaiz Ortiz Sr F PADA
13. 21:56 426 426 Ashley Duran Sr F RIDG
14. 22:05 459 459 Lindsee Handel So F SHAF
15. 22:12 45 45 Gabrielle Lerma So F BAKE
JV Boys Results
1 MCFA McFarland 29
2 RIDG Ridgeview 72
3 BAEA East Bakersfield 105
4 PADA Palmdale 118
5 SOUT South 150
6 Fron Frontier 160
7 WASC Wasco 161
8 STOC Stockdale 169
9 FTHL Foothill 237
10 GARC Garces Memorial 246
11 MiMo Mira Monte 278
12 BAKE Bakersfield 341
SHAF Shafter INC
TFCC Taft INC
ARVI Arvin INC
NORT North INC
1. 11:06 284 284 Bryan Calvo Sr M MCFA
2. 11:23 290 290 Pedro Sanchez Jr M MCFA
3. 11:34 661 661 Eric Sanchez Jr M WASC
4. 11:34 100 100 felix Trevino So M BAEA
5. 11:36 277 277 Bernardo Garcia Fr M MCFA
6. 11:39 440 440 Ernesto Castillo Jr M RIDG
7. 11:45 476 476 Matt Yanez Jr M SHAF
8. 11:46 439 439 Michael Anseno Sr M RIDG
9. 11:47 98 98 Marc Sotello Jr M BAEA
10. 11:47 474 474 Elias Picazo Sr M SHAF
11. 11:49 288 288 Adam Marquez Fr M MCFA
12. 11:50 394 394 Ramirez Miguel Jr M PADA
13. 11:50 393 393 Nicholas Mayo Jr M PADA
14. 11:53 276 276 Ismael Bautista Fr M MCFA
15. 12:00 101 101 Esteban Vargas Sr M BAEA
JV Girls Results
1 PADA Palmdale 27
2 STOC Stockdale 51
3 RIDG Ridgeview 66
4 MiMo Mira Monte 100
SOUT South INC
BAKE Bakersfield INC
FTHL Foothill INC
NORT North INC
GARC Garces Memorial INC
1. 14:45 494 494 Claudia Cuevas Sr F SOUT
2. 15:05 420 420 Natalia Motta Sr F RIDG
3. 15:12 528 528 Amber Crabtree Sr F STOC
4. 15:28 351 351 Amy Diaz Sr F PADA
5. 15:33 360 360 Lizet Onofre Jr F PADA
6. 15:41 364 364 Crystal Schachter Jr F PADA
7. 15:48 531 531 Shelby Pinkham Jr F STOC
8. 15:51 41 41 Felisa Torres Sr F BAKE
9. 15:52 118 118 Lucia Garcia Jr F FTHL
10. 15:54 362 362 Karina Ortega Jr F PADA
11. 15:54 328 328 Aubree Mossburg Jr F NORT
12. 16:04 365 365 Michelle Silva Jr F PADA
13. 16:06 367 367 Zaria Zambrano Jr F PADA
14. 16:07 525 525 Justine Benavidez Sr F STOC
15. 16:19 128 128 Nancy Tenorio Sr F FTHL
Frosh/Soph Boys
1 MCFA McFarland 25
2 WASC Wasco 66
3 FTHL Foothill 95
4 STOC Stockdale 114
5 RIDG Ridgeview 121
6 PADA Palmdale 139
7 SHAF Shafter 174
8 Inde Independence 183
9 TFCC Taft 254
10 BAKE Bakersfield 287
11 RFKH RFKH 312
12 GARC Garces Memorial 313
13 ARVI Arvin 337
14 MiMo Mira Monte 383
SOUT South INC
Error 2042 #N/A INC
1. 10:53 666 666 Jorge Zuniga Fr M WASC
2. 10:55 282 282 Chavez Ryan Fr M MCFA
3. 11:12 275 275 Sergio Avelar Fr M MCFA
4. 11:25 638 638 Eddie Aguilar So M WASC
5. 11:26 280 280 Leo Perez Fr M MCFA
6. 11:26 278 278 Jose Monrreal Fr M MCFA
7. 11:36 177 177 Genaro Quintanar Fr M FTHL
8. 11:38 541 541 Alex Eckley Fr M STOC
9. 11:39 279 279 Gonzalo Mulato Fr M MCFA
10. 11:40 252 252 Dwayne Facho So M Inde
11. 11:41 434 434 Brandon Magno Fr M RIDG
12. 11:42 383 383 Corey Nieto Fr M PADA
13. 11:48 543 543 Abraham Mayorga So M STOC
14. 11:49 467 467 Pablo Mendez Fr M SHAF
15. 11:50 650 650 Asencion Mendoza Sr M WASC
Frosh/Soph Girls
1 MCFA McFarland 43
2 Inde Independence 51
3 STOC Stockdale 73
4 FTHL Foothill 101
5 TFCC Taft 121
6 RIDG Ridgeview 139
7 RFKH RFKH 173
8 WASC Wasco 180
SOUT South INC
BAEA East Bakersfield INC
NORT North INC
BAKE Bakersfield INC
GARC Garces Memorial INC
1. 14:02 267 267 Corina Garcia So F MCFA
2. 14:02.6 270 270 Kathy Torres Fr F MCFA
3. 14:09 266 266 Olivia Ayon Fr F MCFA
4. 14:09 586 586 Daisy Guitron Fr F TFCC
5. 14:16 522 522 Madison Schutzner Fr F STOC
6. 14:23 484 484 Natalie Espinoza So F SOUT
7. 14:37 248 248 Sara Sullivan Fr F Inde
8. 14:37 110 110 Erica Castro So F FTHL
9. 14:44 237 237 Natalie Ambriz So F Inde
10. 14:46 93 93 Mayra Ponce So F BAEA
11. 14:50 244 244 Acacia Ingram So F Inde
12. 14:58 523 523 Victoria Valos So F STOC
13. 15:00 268 268 Liset Perezchica Fr F MCFA
14. 15:03 249 249 Katelynn Webb Fr F Inde
15. 15:20 135 135 Mari Escuedero So F FTHL
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
JV Boys - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Ridgeview Tino Romero 11:17.25 1 1 1
2. Wasco Oscar Gomez 11:26.11 2 2 1
3. East Marc Sotello 11:26.90 3 x 1
4. Shafter Matthew Yanez 11:34.14 4 x 1
5. McFarland Grenardo Garcia 11:34.63 5 x 1
6. Highland Juan Delgado 11:37.47 6 3 1
7. Centennial Brandon Ballard 11:38.17 7 4 1
8. Ridgeview Ernesto Castillo 11:38.94 8 5 2
9. Shafter Elias Picazo 11:40.09 9 x 2
10. Ridgeview Sukhwinder Singh 11:42.25 10 6 3
11. Wasco M. Vasquez 11:49.94 11 7 2
12. East Felix Trevino 11:51.62 12 x 2
13. Ridgeview Tree Hoisson 11:52.34 13 8 4
14. Stockdale Raymon Griggs 11:52.62 14 9 1
15. Highland Rafael Alcaraz 11:53.30 15 10 2
16. East Esteban Vargas 11:54.83 16 x 3
17. McFarland Adam Marquez 11:56.93 17 x 2
18. Frontier Corry Harris 12:02.24 18 11 1
19. Highland M. Shaffer 12:04.99 19 12 3
20. Highland Jo Dixon 12:05.53 20 13 4
21. Centennial Nick Trieberg 12:06.03 21 14 2
22. Highland Daniel Espinosa 12:07.15 22 15 5
23. Foothill Cesar Espinosa 12:10.84 23 16 1
24. Highland Ernan Lopez 12:18.78 24 17 6
25. Stockdale P. Bowen 12:25.59 25 18 2
26. Stockdale Andrew Worth 12:26.63 26 19 3
27. Foothill Jovani Pineda 12:32.47 27 20 2
28. Centennial Jake Smoot 12:33.35 28 21 3
29. Foothill Robert Guillen 12:36.97 29 22 3
30. Garces Jose Lopez 12:37.53 30 23 1
31. Highland Pablo Santiago 12:38.23 31 24 7
32. Ridgeview Ian Dowot 12:38.71 32 25 5
33. Frontier Ramon Sanchez 12:42.97 33 26 2
34. Foothill Peter Reyna 12:45.32 34 27 4
35. Ridgeview Hector Garay 12:45.76 35 28 6
36. Frontier Brian Cisneros 12:46.11 36 29 3
37. Stockdale Cornelius Sockey 12:49.24 37 30 4
38. Stockdale Nick Haley 12:49.57 38 31 5
39. Frontier Christopher Bedke 12:51.77 39 32 4
40. Frontier Chris Corral 12:52.80 40 33 5
41. Centennial CJ Carr 12:55.06 41 34 4
42. Ridgeview Arty Sanchez 12:55.60 42 35 7
43. Garces Dominic Gallegos 12:56.21 43 36 2
44. Foothill Oscar Rivera 12:57.02 44 37 5
45. Shafter Jonatan Lopez 12:59.96 45 x 3
46. Stockdale Evan Szablowsk 13:01.10 46 38 6
47. BHS Hector Sanchez 13:02.38 47 39 1
48. Foothill Guillermo Cisneros 13:05.95 48 40 6
49. Stockdale Jit Malay 13:06.90 49 41 7
50. Highland Nick Lopez 13:07.10 50 42 8
51. Centennial Craig Varner 13:15.59 51 43 5
52. Highland Tyler Dunlap 13:20.14 52 44 9
53. Stockdale Davis McLeod 13:20.73 53 45 8
54. Foothill Luis Garcia 13:22.06 54 46 7
55. Shafter Miguel Sanchez 13:23.34 55 x 4
56. Independence Curtis Valencia 13:25.34 56 47 1
57. Wasco Kyle Bearley 13:26.41 57 48 3
58. Ridgeview Martin Oropeza 13:27.08 58 49 8
59. Frontier Chris Mount 13:28.88 59 50 6
60. Wasco Anthony Ramirez 13:29.86 60 51 4
61. Frontier Jairo Garcia 13:34.10 61 52 7
62. Stockdale Kevin Chun 13:37.01 62 53 9
63. Foothill Marcos Sandoval 13:38.55 63 54 8
64. Arvin Jose Rodriguez 13:39.04 64 x 1
65. Frontier Steven Saenz 13:39.36 65 55 8
66. Stockdale John Bracamant 13:40.57 66 56 10
67. Wasco Kr. Brown 13:43.42 67 57 5
68. Stockdale Adrian Esquivas 13:45.00 68 58 11
69. Stockdale Joshua St. Clair 13:46.57 69 59 12
70. BHS Josh Harbin 13:49.65 70 60 2
71. Mira Monte Hislon Belo 13:53.35 71 x 1
72. Stockdale Eric Jorgensen 13:56.96 72 61 13
73. Garces Anthony Martinez 14:05.99 73 62 3
74. Arvin Rodger Tabada 14:15.08 74 x 2
75. Stockdale Phillip Radon 14:16.70 75 63 14
76. Stockdale Landon Medina 14:18.10 76 64 15
77. East Donald Sanchez 14:18.32 77 x 4
78. Frontier Spencer Cordova 14:25.94 78 65 9
79. Frontier Matt Walker 14:32.16 79 66 10
80. Wasco Arturo Miranda 14:32.82 80 67 6
81. Highland Luis Lopez 14:36.85 81 68 10
82. Independence Devin Lane 14:43.22 82 69 2
83. Garces Sterling Garza 14:43.64 83 70 4
84. Mira Monte Michael Pineda 14:45.10 84 x 2
85. Stockdale Joshua Le 14:45.99 85 71 16
86. Independence Michael Gallarza 14:46.50 86 72 3
87. Foothill William Saavedra 14:48.22 87 73 9
88. BHS Trevor Dalke 14:48.96 88 74 3
89. Independence Andrew Cruz 14:57.45 89 75 4
90. Highland Alex Harrell 15:01.62 90 76 11
91. BHS Wesley Elrich 15:02.07 91 77 4
92. Frontier Jason Phillips 15:02.54 92 78 11
93. Foothill Mason De La Cruz 15:03.92 93 79 10
94. Highland Estevan Espinoza 15:06.66 94 80 12
95. Mira Monte Rick Mendoza 15:08.42 95 x 3
96. Foothill AJ Lara 15:09.07 96 81 11
97. Centennial Jarod Kashwer 15:13.28 97 82 9
98. Highland Ryan Gonzalez 15:28.65 98 83 13
99. BHS Andres Eagleson 15:35.28 99 84 5
100. Frontier Kevin Sanchez 15:41.75 100 85 12
101. Centennial Brent Williams 15:46.70 101 86 10
102. Ridgeview Eric Jacques 15:46.93 102 87 9
103. Garces P. Newman 15:55.87 103 88 5
104. Foothill Jose Mejia 16:22.51 104 89 12
105. Independence Sky Payne 16:38.36 105 90 5
106. Foothill Logan Power 20:16.50 106 91 13
107. Arvin Oswaldo Leyva 24:45.86 107 x 3
108. North Sonny Medina 25:53.00 108 x 1
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
Varsity Boys - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Foothill Chris Schwartz 14:59.76 1 1 1
2. McFarland Alfonso Cisneros 15:33.49 2 2 1
3. McFarland Francisco Nava 15:48.44 3 3 2
4. McFarland Marco Perez 15:48.85 4 4 3
5. Stockdale Curtis Kelly 15:50.33 5 5 1
6. Ridgeview Brian Solis 15:50.81 6 6 1
7. Wasco A. Mendoza 15:51.72 7 7 1
8. Ridgeview Alex Garcia 15:52.70 8 8 2
9. Shafter Chris Handel 15:53.96 9 9 1
10. McFarland Gerardo Alcala 15:54.28 10 10 4
11. Shafter Jesus Villalpondo 16:05.48 11 11 2
12. Highland Colin Lewis 16:06.79 12 12 1
13. Centennial Nathan Vincent 16:08.77 13 13 1
14. Ridgeview Robby Baker 16:13.01 14 14 3
15. McFarland Eduardo Bautista 16:18.69 15 15 5
16. BHS Andrew Ariey 16:21.59 16 16 1
17. Garces Connor O'Malley 16:23.32 17 17 1
18. Stockdale Blair Slaton 16:25.15 18 18 2
19. Ridgeview Jerrio Lewis 16:25.61 19 19 4
20. East Jose Ramirez 16:25.97 20 20 1
21. East Mose Valdez 16:26.30 21 21 2
22. Highland Thomas Turner 16:26.59 22 22 2
23. Golden Valley Daymon Sandles 16:26.91 23 23 1
24. Foothill Jose Lopez 16:27.22 24 24 2
25. Ridgeview Miguel Munoz 16:30.13 25 25 5
26. Wasco G. Linares 16:34.10 26 26 2
27. Shafter Josh Wittenberg 16:34.61 27 27 3
28. Highland Jake Van Zandt 16:36.62 28 28 3
29. East Charlie Zaragoza 16:39.22 29 29 3
30. BHS Andrew Edquist 16:41.12 30 30 2
31. Cesar Chavez Martin Rios 16:45.91 31 31 1
32. Highland Ivan Esquivias 16:47.91 32 32 4
33. BHS Zachary Holt 16:48.98 33 33 3
34. Stockdale Anthony Dao 16:49.30 34 34 3
35. Cesar Chavez Ruben Galaviz 16:49.67 35 35 2
36. Wasco O. Mirando 16:50.04 36 36 3
37. Shafter Alex Moreno 16:51.14 37 37 4
38. Wasco E. Sanchez 16:52.02 38 38 4
39. Wasco E. Ramirez 16:53.29 39 39 5
40. East Camilo Mosqueda 16:53.84 40 40 4
41. East Vincente Herrera 16:54.31 41 41 5
42. Foothill Erick Bautista 16:54.82 42 42 3
43. Arvin Ben Orozco 16:57.57 43 43 1
44. Shafter Hector Montoya 17:01.02 44 44 5
45. Garces Jesus Guzman 17:02.28 45 45 2
46. Garces Michael Bedard 17:02.88 46 46 3
47. Frontier Tanner Urmston 17:03.48 47 47 1
48. BHS John Purcell 17:04.08 48 48 4
49. Centennial Ty Heiter 17:04.73 49 49 2
50. Frontier Richard Peralta 17:05.73 50 50 2
51. Shafter Cristian Barrios 17:07.93 51 51 6
52. Centennial Gehrig Smith 17:08.86 52 52 3
53. BHS Christopher Anderson 17:09.32 53 53 5
54. Highland Justin Burnett 17:10.77 54 54 5
55. Wasco J. DeJulian 17:11.97 55 55 6
56. Stockdale Stephen Burke 17:16.30 56 56 4
57. Arvin Juan Calderon 17:16.89 57 57 2
58. Wasco Cesar Patino 17:19.39 58 58 7
59. Cesar Chavez Tim Yanez 17:21.10 59 59 3
60. Highland Ariel Hurtado 17:23.69 60 60 6
61. North Adam Ralls 17:24.02 61 x 1
62. Ridgeview Michael Anseno 17:24.53 62 61 6
63. Ridgeview Jaime Madrigal 17:31.18 63 62 7
64. Foothill Patrick Manrique 17:32.75 64 63 4
65. Frontier Will Beechinor 17:33.57 65 64 3
66. East Alex Estrada 17:38.64 66 65 6
67. Burroughs Jesse Wigfield 17:38.99 67 66 1
68. Centennial Eric Millan 17:39.50 68 67 4
69. Burroughs Daniel Lathrop 17:39.91 69 68 2
70. Shafter Jacob Vasquez 17:40.47 70 69 7
71. Garces David Freed 17:40.91 71 70 4
72. Centennial Jake Howry 17:42.54 72 71 5
73. Burroughs Andrew Szczpiorski 17:44.05 73 72 3
74. Frontier D. Sclafani 17:47.26 74 73 4
75. Stockdale Max Morales 17:48.38 75 74 5
76. Burroughs Eduardo Carrillo 17:51.64 76 75 4
77. Burroughs Keith Christman 17:57.59 77 76 5
78. Golden Valley Jose Salgado 17:59.82 78 77 2
79. Cesar Chavez Rudy Sandoval 18:00.34 79 78 4
80. Centennial Brad Hinsley 18:04.58 80 79 6
81. Arvin Yessuri Villsenor 18:05.30 81 80 3
82. Burroughs Nathan Cheadle 18:10.33 82 81 6
83. Foothill Javier Garcia 18:11.22 83 82 5
84. Foothill Ernest Marquez 18:11.57 84 83 6
85. BC Kevin Yarian 18:27.47 85 84 1
86. North Chris Emmett 18:29.51 86 x 2
87. Cesar Chavez Andres Rodriguez 18:30.45 87 85 5
88. Tehachapi Corey Torres 18:32.16 88 86 1
89. Frontier Michael Sclafani 18:33.62 89 87 5
90. Garces Patrick Gomez 18:37.52 90 88 5
91. Highland Humberto Ramirez 18:37.98 91 89 7
92. Golden Valley David Gamino 18:40.22 92 90 3
93. Frontier Ricky Gonzales 19:03.13 93 91 6
94. Garces Chris Real 19:06.29 94 92 6
95. Stockdale D. Sherrill 19:08.29 95 93 6
96. Garces Dillon Lyles 19:16.75 96 94 7
97. Tehachapi Christian Torres 19:19.03 97 95 2
98. BC Mark McCutcheon 19:20:78 98 96 2
99. Golden Valley Nick Cruz 19:22.49 99 97 4
100. Golden Valley Daniel Perez 19:25.13 100 98 5
101. Foothill Christian Paredes 19:32.03 101 99 7
102. Arvin Adrian Rodriguez 19:32.67 102 100 4
103. BC Thomas Beard 19:59.04 103 101 3
104. West Michael Branquino 19:59.63 104 x 1
105. BHS Nick Flores 20:04.27 105 102 6
106. Tehachapi Logan Collier 20:07.47 106 103 3
107. Kern Valley C. Woodward 20:22.63 107 x 1
108. Arvin Christian Guerrero 20:31.41 108 104 5
109. Burroughs Daniel Meade 20:41.26 109 105 7
110. Golden Valley Ryan Davis 20:41.26 110 106 6
111. BHS Robby Harris 20:42.01 111 107 7
112. East Hector Fuentes 20:42.57 112 108 7
113. Frontier Alex Blanton 20:56.97 113 109 7
114. Cesar Chavez Joel Hernandez 21:02.22 114 110 6
115. Tehachapi Trent Sherman 21:02.94 115 111 4
116. Tehachapi Shaddi Haddad 21:18.14 116 112 5
117. BC Austin Adee 21:25.45 117 113 4
118. BC Aaron Stephens 21:31.77 118 114 5
119. Kern Valley J. Pistocco 23:15.37 119 x 2
120. Tehachapi Corey Hebron 23:19.78 120 115 6
121. West Kevin Serrano 23:48.05 121 x 2
Obama WINS!
I headed to Grant Park direct from work, some time around 8:45pm. It seemed like none of the newspaper or TV websites could agree - the more cautious ones like the New York Times were updating as votes trickled in; other sites like Yahoo and CNN were projecting winners ahead of the final winners. Lest you think your vote doesn't count, just look at the state-by-state tallies - some of the states were won by a fraction of a percentage - fifteen or twenty thousand votes. That's the size of a small town.
The Loop was nearly empty, the few pedestrians there were all hurrying towards the lakefront. Police officers and CTA workers stood in clusters; buses lined up to be ready for the post-rally surge of people. As I waited at one corner, the three Streets and Sanitation men clustered there told me they heard it was "over 200" for Obama so far.
Here were all the people: a steady stream down both sides of Michigan Avenue, all heading for the few access points for the park. Hucksters hawked along the sidewalks, bikes were jammed along any surface where they could be locked, and everyone, it seemed, wore something showing their support for Obama.
I turned into Grant Park at the access point at Jackson, and joined the thick crowds aiming for the various large projection screens that had been scattered throughout the park. Forget the idea that the "smaller" event was going on at the Petrillo Bandshell; these crowds were like you see for the Taste. The ticketed event on the south side of the park was jam-packed and well-lit. People wandered around, talking and eating pizzas and checking their cell phones for updates. I was alternatively checking my own phone for election results and texts from my friend Vinnie, who I was trying to find amidst all these other supporters.
Every time a state win was announced, cheers would erupt from the crowds. People who had started the evening total strangers stood together, hands clutched or arms linked as they anxiously watched the screens, side by side - all colors, all religions, all ages, all united in one view, in a momentous moment in our country's history.
Then came the announcement - Virginia, I think it was, had gone to Barack Obama, and it was enough to give him the victory. Everybody was yelling, crying, hugging, waving flags; the park erupted in sound and flashbulbs and cheers.
I turned around and found myself facing a short, wiry old black man who was not even as tall as I am. His face was screwed up in emotion, tears spilling down his cheeks. The raw and naked emotion on his face said it all: this was a man who had seen much in his life, and now in the twilight of his years, we had finally elected a black President. He looked at once dazed and hopeful, standing there in his Bulls jacket and Sox cap and Obama shirt, hands moving unconsciously at his sides, his eyes continuing to water.
"A black man... our President. A black man... I never thought I would live to see this day." You could hear both the disbelief and the wonderment in his voice. His gaze fixed on mine, his dark eyes looking into my blue ones, and he held his arms open. "Would you please give me a hug?" he asked.
"Of course," I replied, smiling, and gave him a hug.
He hugged me fiercely, not letting go, and I could feel his body shaking as he sobbed against my shoulder. When he finally stepped back, he looked intently at me, tears still running from his eyes. "You know what this means, don't you? Anything is possible. Anything. Anybody can be anything they want."
"Yes, they can. This is a great day for our country."
"A great day." He looked away from me for a moment, towards the nearest projection screens and the jubilant crowds. "A great day. Yes, they can."
* * *
My picture has been featured here:
ballotvox.prx.org/archives/854/they-took-to-the-streets
And my story has been copied here:
ballotvox.prx.org/archives/852/a-black-man-will-be-president
* * *
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
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Specifications
Engine
• VR-series twin-turbocharged 3.8-liter V6.
• 480 hp @ 6,800 rpm. 430 lb-ft torque @ 3,200–5,200 rpm.
• Dual overhead camshafts with variable intake-valve timing.
• Cast aluminum cylinder block with high-endurance/low-friction plasma-sprayed bores.
• IHI twin turbochargers, one per cylinder bank.
• Pressurized lubrication system with thermostatically controlled cooling.
Drivetrain
• ATTESA ET-S All-Wheel Drive (AWD) with independent rear-mounted transaxle integrating transmission, differential and AWD transfer case.
• Rigid, lightweight carbon-composite driveshaft between engine and transaxle.
• Electronic traction control plus 1.5-way mechanically locking rear differential.
• Vehicle Dynamics Control (VDC-R) with three driver-selectable settings: Normal (for daily driving, controls brakes and engine output), R-Mode (for ultimate performance, utilizes AWD torque distribution for additional vehicle stability) and Off (driver does not want the help of the system).
• Hill Start Assist prevents rollback when starting on an incline.
DisclaimerVDC-R cannot prevent accidents due to abrupt steering, carelessness, or dangerous driving techniques. Always drive safely.
Transmission
• 6-speed Dual Clutch Transmission with three driver-selectable modes: Normal (for maximum smoothness and efficiency), Snow (for gentler starting and shifting on slippery surfaces), and R mode (for maximum performance with fastest shifts).
• Fully automatic shifting or full sequential manual control via gearshift or steering wheel-mounted paddle shifters.
• Dual clutch design changes gears in less than 0.5 second (0.2 second in R mode).
• Downshift Rev Matching (DRM).
• Predictive pre-shift control (in R mode) based on throttle position, vehicle speed, braking and other information.
Wheels and Tires
• 20 x 9.5" (front) and 20 x 10.5" (rear) super-lightweight forged-aluminum wheels with Gunmetal Gray finish.
• Exclusively developed nitrogen-filled Bridgestone® RE070A high-capacity run-flat summer tires, 255/40R20 front and 285/35R20 rear.
• Tire Pressure Monitoring System (TPMS).
• Optional exclusively developed nitrogen-filled Dunlop® run-flat all-season tires, 255/40R20 front and 285/35R20 rear (includes Bright Silver wheels).
Brakes
• Brembo® 4-wheel disc brakes with 4-wheel Antilock Braking System (ABS), Brake Assist, Electronic Brakeforce Distribution and Preview Braking.
• Two-piece floating-rotor 15-inch front and rear discs with diamond-pattern internal ventilation.
• 6-piston front/4-piston rear monoblock calipers.
Steering
• Rack-and-pinion steering with vehicle-speed-sensitive power assist.
• 2.6 steering-wheel turns lock-to-lock.
Suspension
• 4-wheel independent suspension with Bilstein® DampTronic system with three driver-selectable modes: Normal/Sport (for automatic electronic control of damping), Comfort (for maximum ride comfort), and R mode (engages maximum damping rate for high-performance cornering).
• Electronically controlled variable-rate shock absorbers. High-accuracy progressive-rate coil springs.
• Front double-wishbone/rear multi-link configuration with aluminum members and rigid aluminum subframes.
• Hollow front and rear stabilizer bars.
Body/Chassis
• Exclusive Premium Midship platform with jig-welded hybrid unibody.
• Aluminum hood, trunk and door skins. Die-cast aluminum door structures.
• Carbon-reinforced front crossmember/radiator support.
Back to Top
Standard Features
Exterior
• Wide-beam headlights with High Intensity Discharge (HID) low beams.
• LED taillights and brake lights.
• Dual heated power mirrors.
• Flush-mounted aluminum door handles.
• Body-color rear spoiler with integrated center high-mounted stop light.
• UV-reducing tinted glass.
Audio/Navigation/Performance Monitor
• Digital Bose® audio system with AM/FM/in-dash 6-CD changer and 11 speakers including dual subwoofers.
• HDD Music Box system, including hard drive with 9.4 GB for audio storage.
• MP3, WMA and DVD audio capable. In-dash Compact Flash card reader.
• HDD-based GPS navigation with touch screen.
• Driver-configurable performance monitor, developed with Sony® Polyphony, with graphical readouts of vehicle data and driving data displayed on a total of 11 screens.
• 7-inch WVGA high-resolution color-LCD display for audio, navigation and performance monitor.
Interior
• Automatic Temperature Control (ATC).
• Electronic analog instrument cluster with multi-function trip computer and digital gear indicator.
• Power front windows with one-touch auto-up/down feature.
• Intelligent Key system with pushbutton start. Power door locks.
• Cruise control.
• Tilt/telescoping steering column.
• Bluetooth® Hands-free phone system with voice recognition.
Seating/Appointments
• Leather upholstered front seats with perforated Alcantara inserts.
• 8-way power front seats with entry/exit switch for rear-seat passengers.
• Driver-shaped bucket seat.
• Dual individual rear seats.
• Heated front seats.
• Leather-wrapped steering wheel and shift knob.
• Drilled aluminum pedals.
Safety/Security
• Nissan Advanced Air Bag System (AABS) with dual-stage supplemental front air bags, seat belt sensors and occupant-classification sensor.
• Driver and front-passenger side-impact supplemental air bags and roof-mounted curtain supplemental air bags.
• Front seat belts with pretensioners and load limiters.
• Nissan Vehicle Immobilizer System.
• Vehicle Security System.
BIENNALIST @ Venice Biennale
www.emergencyrooms.org/biennalist.html
by www.colonel.dk and www.emergencyrooms.org
www.emergencyrooms.org/formats.html about other art format
------------about Venice Biennale history from wikipedia ---------
The Venice Biennale in English also called the "Venice Biennial") refers to an arts organization based in Venice
The Art Biennale, a contemporary visual art exhibition and so called because it is held biennially
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czech and Slovak Republics, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, ten new participant countries developed national pavilions for the Biennale: Angola, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada [4], Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[29]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
, Photographic Source
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation
Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artist
See the Savannah River Bluffs Heritage Preserve in an interactive view (requires shockwave - a free, one-time, automatic download).
Camera: Nikon D100
Lense: AF-S DX Nikkor 18-70 mm f/3.5-4.5G IF-ED
Tripod: Manfrotto
Tripod head: Manfrotto 322RC2 Tripod Head with Nodal Ninja
Photos: 9 + 9 + 9 + 2 = 29 photos (three rows plus zenith and nadir)
Software: Stitched with PTGui (but warped with Panorama Tools); Blended with Enblend plugin; No photoshop
Original Image: 10,000 x 5,000 pixels; 27.5 MB
Location: Google Earth (requires Google Earth) | Street | Satellite | Hybrid | Nautical | Topo
Pulverwiesen 11 73728 Esslingen am Neckar
Places / Germany / Baden-Wurttemberg / Esslingen
www.landkreis-esslingen.de/,Lde/start/service/zulassung.html
Über 400.000 Fahrzeuge mit dem Kennzeichen ES sind weltweit auf den Straßen unterwegs. Alles was mit der An-, Um- oder Abmeldung von Fahrzeugen zusammenhängt, erledigt das Landratsamt. Und wer die Welt motorisiert erleben will, braucht einen Führerschein. Auch den gibt es beim Landratsamt.
hier:
Kleines Landeswappen
Dabei repräsentiert Schwarz die Landesteile Württemberg und Hohenzollern,
Gold hingegen Baden.
Das Wappen zeigt drei schreitende Löwen auf goldenem Grund. Dies ist das Wappen der Staufer und Herzöge von Schwaben.
Das Signet (lat. signum „Zeichen“) ist ein dem Logo übergeordnetes visuelles Zeichen.
Identifikationszeichen
Logo Siegel Signum Brandmarke
Als sich der Handel im Mittelmeerraum ausbreitete (ab etwa 800 v. Chr.), entwickelte sich zunehmend die Verwendung von Identifikationszeichen wie Töpfer-, Steinmetz- und Goldschmiedemarken. Andere Vorläufer von Markenzeichen waren die Brandmarken auf Nutztieren, die die Identität ihrer Besitzer garantierte und dadurch auch die Unverwechselbarkeit der Tiere auf dem Markt gewährleisteten. Solche Identifikations- oder Besitzzeichen hatten die pragmatische Funktion, die Ware, den Besitzer oder den Hersteller zu identifizieren. Darüber hinaus konnten diese Zeichen auch den Qualitätswert der Produkte eines bestimmten Züchters oder Handwerkers darstellen. Die verwendeten Zeichen haben sich eher als Bildzeichen denn als Wortzeichen etabliert, um auch über Ländergrenzen hinaus verstanden zu werden. Markenzeichen werden heute auch Signete genannt.
°°°°°°°°°°°
Administration
Baden-Württemberg is divided into 35 districts (Landkreise) and 9 independent cities (Stadtkreise), both grouped into the four Administrative Districts (Regierungsbezirke) of Freiburg, Karlsruhe, Stuttgart, and Tübingen.
Die 35 Landkreise sind:
Alb-Donau-Kreis
Biberach
Böblingen
Bodenseekreis
Breisgau-Hochschwarzwald
Calw
Emmendingen
Enzkreis
Esslingen
Freudenstadt
Göppingen
HeidenheimHeilbronn
Hohenlohekreis
Karlsruhe
Konstanz
Lörrach
Ludwigsburg
Main-Tauber-Kreis
Neckar-Odenwald-Kreis
Ortenaukreis
Ostalbkreis
Rastatt
RavensburgRems-Murr-Kreis
Reutlingen
Rhein-Neckar-Kreis
Rottweil
Schwäbisch Hall
Schwarzwald-Baar-Kreis
Sigmaringen
Tübingen
Tuttlingen
Waldshut
Zollernalbkreis
#
Im Land bestehen die folgenden neun Stadtkreise:
Furthermore there are nine independent cities, which do not belong to any district:
A. Baden-Baden
B. Freiburg
C. Heidelberg
D. Heilbronn
E. Karlsruhe
F. Mannheim
G. Pforzheim
H. Stuttgart
I. Ulm
°°°°°°°°°°°
de.wikipedia.org/wiki/Portal:Baden-Württemberg
Baden-Württemberg ist das einzige deutsche Land, das aus einer Volksabstimmung hervorging. Die Mehrheit der Bürgerinnen und Bürger sprach sich am 9. Dezember 1951 für den Zusammenschluss der Länder Württemberg-Baden, Württemberg-Hohenzollern und Baden aus.
Persönlicher Kommentar:
Baden vertraute einer internen Prognose, nach der die Mehrheit gegen den Zusammenschluss waren, weshalb sie listig die Volksabstimmung beantragten.
Inzwischen waren aber 1,5 Millionen Kriegsflüchtlinge ins Land gekommen.
Deren Vetreter empfahlen für den Zusammenschluss zu stimmen. Kurz zuvor wurde allen Vertriebenen die Wahlberechtigung per Dekret geschenkt.
Endlich waren sie gleichwertige Bürger, also de facto einer Anerkennung der deutschen Staatsbürgerschaft gleichzusetzen.
Man kann von einer fast 100% igen Wahlbeteiligung unter den Vetriebenen ausgehen.
Alle hofften auf bessere Unterkünfte und Hilfen.
Ein starkes Baden-Württemberg schien dafür geeignet.. Dies traf dann auch tatsächlich ein.
Die Situation der Heimatvertriebenen aus dem 2. Weltkrieg verbesserte sich nach und nach.
Die Geburtsstunde Baden-Württembergs am 25. April 1952 war die Initialzündung für einen beispiellosen Aufstieg des neuen Südweststaats. Theodor Heuss sprach von einem "Modell deutscher Möglichkeiten".
Baden-Wuerttemberg is the only German country, which was made by a Popular Vote.
The majority of the citizens and citizens expressed itself on 9th December 1951 for the union of the countries a Württemberg-Baden, Württemberg Hohenzollern and Baden. The birth of Baden-Wuerttemberg was on 25th April 1952 . This was the start for an unparalleled ascent of the new southwest state.
Theodor Heuss called this " Model of German Possibilities".
The sobriquet Ländle (dialect form for "small land") is sometimes used as a synonym for the Swabian part of Baden-Württemberg.
de.wikipedia.org/wiki/Baden-Württemberg
°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°
Click , &
Push F11 - Full - screen
Grossformat
MY Slide show
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
montage
Canon PowerShot SX1 IS,
photo
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
a good tool for flickr: FLUIDR
fluidr
comment and and fave tool
and Exif overview
and
°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°
or Enjoy
© View LARGE on BLACKMagic on brilliant black
For your Eyes only ©
°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°
performance event entitled “Climate Crisis Car Wash,” co-conceived by Canadian artist Celeste Pimm.
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academy-emergency-art.blogspot.dk/2014/05/why-should-berl...
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Biennalist @ Berlin Biennale . Should we debate global warming NOW or promote it ?
ARE BIENNALES DANGEROUS ?
Art Formats : ( including Emergency Art )
www.emergencyrooms.org/formats.html
Biennalist:
www.emergencyrooms.org/biennalist.html
THE EMERGENCY WILL REPLACE THE CONTEMPORARY
-------
----more about Berlin Biennale ---#BB8
Juan A. Gaitán appointed curator of the 8th Berlin Biennale for Contemporary Art
KW Institute for Contemporary Art in Berlin is delighted to announce the appointment of Juan A. Gaitán as curator of the 8th Berlin Biennale for Contemporary Art. The 8th Berlin Biennale will take place in spring 2014.
Juan A. Gaitán (Canada/Colombia) is an independent writer and curator, currently based in Mexico City and Berlin. He is trained as an artist and art historian at University of British Columbia and Emily Carr Institute of Art and Design in Vancouver (Canada). Between January 2009 and December 2011, he was curator at Witte de With Center for Contemporary Art in Rotterdam (The Netherlands), and between September 2011 and June 2012 adjunct professor in the Curatorial Practice Program at the California College of the Arts in San Francisco (USA). During the 2006 – 2008 period, he was on the Board of Directors of the Western Front Society, and worked as external curator at the Morris and Helen Belkin Art Gallery in Vancouver. His writings have been published in several journals, including Afterall, The Exhibitionist, Fillip, and Mousse. His most recent exhibition, Material Information, spans three venues in Bergen (Norway), and looks for a renewed critical approach to the contemporary global distribution of labor from the perspective of arts and crafts. He is presently member of the acquisitions committee at FRAC Nord-Pas de Calais in Dunquerke (France).
The Berlin Biennale for Contemporary Art is since its fourth edition one of the institutions supported by the German Federal Cultural Foundation as „outstanding cultural event“. The support of 2.5 Million Euros per edition ensures planning stability, enabling the organizers to address issues of content in an experimental way.
Since the first edition in 1998, the Berlin Biennale has become a major international event for contemporary art. Located in the midst of Berlin’s vibrant cultural scene in the fast-changing capital of Germany, the Berlin Biennale has received an enthusiastic response from the audience as an experimental, forward-looking and contextual show. The previous seven editions of the Berlin Biennale explored a variety of exhibition formats and involved diverse curatorial agendas.
Curators have been:
1st Berlin Biennale (1998): Klaus Biesenbach with Nancy Spector, and Hans Ulrich Obrist
2nd Berlin Biennale (2001): Saskia Bos
3rd Berlin Biennale (2004): Ute Meta Bauer
4th Berlin Biennale (2006): Maurizio Cattelan, Massimiliano Gioni, and Ali Subotnick
5th Berlin Biennale (2008): Adam Szymczyk and Elena Filipovic
6th Berlin Biennale (2010): Kathrin Rhomberg
7th Berlin Biennale (2012): Artur Żmijewski together with associate curators Voina and Joanna Warsza
The selection committee for the curatorship of the 8th Berlin Biennale consisted of Sergio Edelsztein (Director and Chief Curator, The Centre for Contemporary Art, Tel Aviv); Cao Fei (Artist, Bejing), Susanne Gaensheimer (Director, MMK Museum für Moderne Kunst, Frankfurt a. M.), Koyo Kouoh (Founding Director and Artistic Director, Raw Material Company - Center for Art, Knowledge and Society, Dakar), Matthias Mühling (Head of Department, Curator, Städtische Galerie im Lenbachhaus, Munich), Bisi Silva (Director and Founder, Centre for Contemporary Art, Lagos), and Patricia Sloane (Associate Curator, MUAC Museo Universitario Arte Contemporáneo and advisor to the Head of Visual Arts, UNAM Universidad Nacional Autónoma de México, Mexico City).
The Berlin Biennale is realized by KW Institute for Contemporary Art and funded by the German Federal Cultural Foundation.
KW Institute for Contemporary Art
Berlin Biennale für zeitgenössische Kunst
Auguststraße 69
#BB8
---artists participating ---
52 Künstler stehen auf der am gestrigen Sonntag veröffentlichten Künstlerliste der 8. Berlin Biennale: Zarouhie Abdalian, Bani Abidi, Mathieu Kleyebe Abonnenc, Saâdane Afif, David Chalmers Alesworth, Carlos Amorales, Andreas Angelidakis, Leonor Antunes, Julieta Aranda , Tarek Atoui, Nairy Baghramian, Bianca Baldi, Patrick Alan Banfield, Alberto Baraya , Rosa Barba, Gordon Bennett, Zachary Cahill, Mariana Castillo Deball, Carolina Caycedo, Tacita Dean, Mario García Torres, Beatriz González, Agatha Gothe-Snape, Shilpa Gupta, Cynthia Gutiérrez, Ganesh Haloi, Carsten Höller, Iman Issa, Irene Kopelman, Kemang Wa Lehulere, Matts Leiderstam, Li Xiaofei, Glenn Ligon, Goshka Macuga, Santu Mofokeng, Shahryar Nashat, Olaf Nicolai, Otobong Nkanga, Christodoulos Panayiotou, Judy Radul, Jimmy Robert, Anri Sala, Slavs and Tatars, Michael Stevenson, Mariam Suhail, Vivan Sundaram, Gaganendranath Tagore, Wolfgang Tillmans, Tonel, Danh Vo & Xiu Xiu, David Zink Yi, Carla Zaccagnini und das Center for Historical Reenactments.
Die 8. Berlin Biennale für zeitgenössische Kunst findet vom 29. Mai bis 3. August 2014 im Haus am Waldsee, den Museen Dahlem - Staatliche Museen zu Berlin, den KW Institute for Contemporary Art und dem "Crash Pad" in den KW statt.
DescriptionDisney DVD InformationName:Walt Disney's 100 Years Of Magic 172 DiscsGenre:CartoonDiscs:172Format:Support both NTSC & PALWeight:4 kgConditionNew Box SetAudio:Dolby Digital 5.1 - EnglishSubtitles - RemovableDisney DVD Collection ListWalt Disney established itself as a leader in the American animation industry before diversifying into live-action film production, television, and travel. Now it is one of the largest and best-known studios in Hollywood, an early and well-known cartoon creation of the company, Mickey Mouse, is the official mascot of The Walt Disney Company. There are many famous animations created by Disney, their charm never fades. Snow White and the Seven Dwarfs, Cinderella, Alice in Wonderland and Sleeping Beauty are some of the classic cartoons, others including:001.Snow White amd the Seven Dwarfs002. Pinocchio003. Fantasia004. Fantasia/2000005. Dumbo006. Bambi007. BambiⅡ008. Saludos Amigos009. Fun and fancy free010. Cinderella011. CinderellaⅡDreams come true012. CioderellaⅢA twist in time013. The wild014. Alice in Wonderland015. Peter Pan016. Lady and the Tramp017. Lady and the TrampⅡ: Scamp's Adventure018. Sleeping Beauty019. One Hundred and One Dalmatians020. 101 DalmatiansⅡ：Patch's london Adventure021. The Sword in the Stone022. The Aristocats023. Bedknobs and Broomsticks024. Robin Hood025. The fox and the Hound026. The little Mermaid027. The little MermaidⅡ: Return to the Sea028. Beauty and the Beast029. Beauty and the Beast: The Enchanted Christmas030. Aladdin031. The Return of jafar032. Aladdin and the King of thieves033. The Nightmare Before Christmas034. The lion King035. The lion KingⅡ: Simba's Pride036. The Lion King 1 ½037. Pocahontas038. Pocahonlas Ⅱ:Journey to a mew world039. Toy Story040. Toy story 2041. James and the Giant Peach042. The Hunchback of Notre Dame043. the HUnCHback of notre dame Ⅱ044. Hercules) 045. Mulan046. Mulan Ⅱ047. Tarzan048. Tarzan Ⅱ049. Valiant050. Dinosaur051. The emperor's New Groove052. Kronk's new groove053. recess:school's out054. Atlantis:The Lost Empir055. Atlantis:Milo's Return056. lilo & stitch057. Stitch 2: Stitch Has a Glitch058. Treasure Planet059. Brother Bear060. Brother Bear 2061. The Jungle Book062. The Jungle Book 2063. Home on the Range064. The Three Musketeers065. Mickey's twice upon a Christmas066. Chicken little067. The wild swans068. Felix the Cat Saves Christmas069. Mickey's magical christmas:snowed in at the house of mouse070. Mickey & Minnie071. Donald duck and the gorilla etc072. Casper073. Three little pigs074. daffy duck075. The black cauldron076. Return to neverland077. the tortoise and the hare078. Everybody loves Donald079. Everybody loves Goofy080. Everybody loves Mickey081. Sweetheart Stories082. Gulliver's travels083. Life with Mickey Town084. Walt Disney treasures volume 1085. Walt Disney treasures volume 2086. Walt Disney treasures volume 3087. Walt Disney treasures volume 4088. Walt Disneys 100 years of Magic: Goofy sport089. The three Caballeros090. Who framed Roger Rabbit091. Mary Poppins092. The Rescuers093. The Rescuers down Under094. Monsters Inc.095. Finding Nemo096. The incredibles097. Cars098. Winnie the Pooh:Story Book099. Winnie the Pooh:A very Merry Pooh Year100. Winnie the Pooh:Heffalump Movie101. Winnie the Pooh:Heffalump Halloween Movie102. Winnie the Pooh:Springtime with Roo103. Winnie the pooh:123104. Winnie the Pooh:All for one,one for all105. Winnie the pooh:the many adventures106. Winnie the Pooh:the Search for Christopher Robin107. Winnie the Pooh:franken Pooh108. A Bug's life109. Disney Heroes Volume One110. An officer and a duck111. Meet the Robinsons112. Underdog113. Ratatouille114. The adventures of ichabod and Mr. Toad115. Disney My friends Tigger and Pooh Super Sleuth Christmas Movie116. The chronological donald:volume one117. The chronological donald:volume two118. Mickey mouse clubhouse mickey saves santa119. Mickey's House of Villains120. Mickey mouse clubhouse:great clubhouse hunt121. Mickey princess enchanted tales:follow your dreams122. The tigger movieSpecial Bonus:123-132. Tom & Jerry133-152. The Berenstain Beans153-164. Sponge Bob Squarpants165-172. Disney Magic English
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The Edit of this Photo Demands Your View In BLACK with Large size for better out put, Plz Press L for Black
This is the cover photo of my set National Language Movement 2011
This Photo was taken on 21th Fab at 01:30 pm , From Jatio Shaheed Minar , Dhaka, BANGLADESH, This Photo was Taken while my Special Photowalk with The flickr Group Frame BANGLADESH
Description :The Bengali Language Movement: and in Bangali Trnslation to ভাষা আন্দোলন
The Bengali Language Movement: Can read In Bangoli here]ভাষা আন্দোলন, also known as the Language Movement (Bengali: ভাষা আন্দোলন; Bhasha Andolon), was a political effort in Bangladesh (then known as East Pakistan), advocating the recognition of the Bengali language as an official language ofPakistan. Such recognition would allow Bengali to be used in government affairs.When the state of Pakistan was formed in 1947, its two regions, East Pakistan (also called East Bengal) and West Pakistan, were split along cultural, geographical, and linguistic lines. In 1948, the Government of Pakistan ordained Urdu as the sole national language, sparking extensive protests among the Bengali-speaking majority of East Pakistan. Facing rising sectarian tensions and mass discontent with the new law, the government outlawed public meetings and rallies. The students of the University of Dhaka and other political activists defied the law and organised a protest on 21 February 1952. The movement reached its climax when police killed student demonstrators on that day. The deaths provoked widespread civil unrest led by the Awami Muslim League, later renamed the Awami League. After years of conflict, the central government relented and granted official status to the Bengali language in 1956. In 2000,UNESCO declared 21 February International Mother Language Day for the whole world to celebrate[1], in tribute to the Language Movement and the ethno-linguistic rights of people around the world.The Language Movement catalysed the assertion of Bengali national identity in Pakistan, and became a forerunner to Bengali nationalist movements, including the 6-point movement and subsequently the Bangladesh Liberation War in 1971. In Bangladesh, 21 February is observed as Language Movement Day, a national holiday. The Shaheed Minar monument was constructed near Dhaka Medical College in memory of the movement and its victims
Background
The present nations of Pakistan and Bangladesh were part of undivided India during the British colonial rule. From the mid-19th century, the Urdu language had been promoted as thelingua franca of Indian Muslims by political and religious leaders such as Sir Khwaja Salimullah, Sir Syed Ahmed Khan, Nawab Viqar-ul-Mulk and Maulvi Abdul Haq.[2][3] Urdu is an Indo-Aryan language of the Indo-Iranian branch, belonging to the Indo-European family of languages. It developed under Persian, Arabic and Turkic influence on apabhramshas (last linguistic stage of the medieval Indian Aryan language Pali-Prakrit)[4] in South Asia during the Delhi Sultanate and Mughal Empire.[5] With its Perso-Arabic script, the language was considered a vital element of the Islamic culture for Indian Muslims; Hindi and the Devanagari script were seen as fundamentals of Hindu culture.[2]While the use of Urdu grew common with Muslims in northern India, the Muslims of Bengal (a province in the eastern part of British Indian sub-continent) primarily used the Bengali language. Bengali is an Eastern Indo-Aryan language that arose from the eastern Middle Indic languages around 1000 CE[6] and developed considerably during the Bengal Renaissance. As early as the late 19th century, social activists such as the Muslim feminist Roquia Sakhawat Hussain were choosing to write in Bengali to reach out to the people and develop it as a modern literary language. Supporters of Bengali opposed Urdu even before the partition of India, when delegates from Bengal rejected the idea of making Urdu the lingua franca of Muslim India in the 1937 Lucknow session of the Muslim League. The Muslim League was a British Indian political party that became the driving force behind the creation of Pakistan as a Muslim state separate from British India.[7]
The Other Set related to this set are available here at : International Mother Language Day
All other Photos of this set are available at : National Language Movement Dat 2011
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WALT DISNEY
Walter Elias "Walt" Disney (December 5, 1901 – December 15, 1966) was an American film producer, director, screenwriter, voice actor, animator, entrepreneur, entertainer, international icon, and philanthropist. Disney is famous for his influence in the field of entertainment during the 20th century. As the co-founder (with his brother Roy O. Disney) of Walt Disney Productions, Disney became one of the best-known motion picture producers in the world. The corporation he co-founded, now known as The Walt Disney Company, today has annual revenues of approximately U.S. $35 billion.
Disney is particularly noted for being a film producer and a popular showman, as well as an innovator in animation and theme park design. He and his staff created some of the world's most famous fictional characters including Mickey Mouse, a character for which Disney himself was the original voice. He has been awarded four honorary Academy Awards and has won twenty-two competitive Academy Awards out of fifty-nine nominations, including a record four in one year, giving him more awards and nominations than any other individual. He also won seven Emmy Awards. He is the namesake for Disneyland and Walt Disney World Resort theme parks in the United States, as well as the international resorts Tokyo Disney, Disneyland Paris, and Disneyland Hong Kong.
Disney died of lung cancer in Burbank, California, on December 15, 1966.
LOOK MICKEY !!
DECONSTRUCTING ROY LICHTENSTEIN™ © 2000
David Barsalou MFA Hartford Art School
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CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
www.nytimes.com/2021/08/06/opinion/covid-delta-vaccines-u...
No, the Unvaccinated Aren’t All Just Being Difficult
By Bryce Covert
Ms. Covert is an independent journalist who focuses on the economy, with an emphasis on policies that affect workers and families.
On a July day in downtown Lowell, Mass., the first sunny Saturday of the month, people began to line up for a block party. Food trucks offered everyone a free empanada or egg roll. A D.J. played music. There were kid-friendly activities, too, like a touch-a-truck station with a fire truck and an ambulance.
The party wasn’t just a way to have a good time. The real motivation was to get people in the community vaccinated against Covid-19. Nestled between the food trucks were ones offering Pfizer, Moderna and Johnson & Johnson vaccines.
In the minds of the public health and community organizers who staged it, it was a roaring success. Sixty-four people got vaccinated within six hours. Hannah Tello, a community health data manager at the nonprofit Greater Lowell Health Alliance, noted that it was eight to 10 times as many vaccinations as what their mobile clinics had been doing; their most successful day before this administered 12.
The people who got shots at the party “were not people who were resistant,” Dr. Tello told me. Outreach workers went to a nearby park and invited the homeless people there to get free food and, if they wanted, a vaccination, and many took them up on the offer in such a low-stakes, nonmedical setting.
An elderly woman who cares for two people with disabilities had tried and failed to schedule vaccinations for all three of them at the same time. This time, she succeeded. A woman who was able to vaccinate all the other eligible people in her family hadn’t been able to get it herself because she has four young children she wasn’t allowed to take to the vaccination center. That day her children played cornhole while she got the shot.
The party organizers also reached about 250 other attendees, many of whom had conversations about their concerns. Some were worried that the vaccines cost money, even though they’re free to all. They were concerned they would need some sort of documentation, which they don’t. One woman hadn’t gotten the shot yet because she has an intense fear of needles; she did it that day after 25 minutes of talking it through. “Her getting her shot is just as important as the people who lined up outside our clinics a few months ago,” Dr. Tello said. “No one is less deserving of having access.”
The country’s vaccination campaign has lagged since April, and that has allowed for a spike in cases, particularly in largely unvaccinated areas. Vaccinations have risen lately in response to the spread of the Delta variant, but rather than keeping its foot on the gas and throwing every idea, every resource at the problem, the White House has started to shift the blame onto those who still haven’t gotten a shot. President Biden grumbled that he has struck a “brick wall” in persuading more Americans to get the shot. Last week, taking aim at those he called “unvaccinated, unbothered and unconvinced,” he said, “If you’re out there unvaccinated, you don’t have to die. Read the news.”
There are plenty of Americans who have been inundated with misinformation about the vaccines. Many are staunchly opposed to getting it for a variety of reasons, from personal health concerns to conspiracy theories. But that doesn’t describe everyone who is unvaccinated — not by a long shot. And there are plenty of things we can do to reach them if we’re serious about spending the time and the money.
Instead, the current approach is to argue that access has increased and it’s everyone’s individual responsibility to get a shot — and if you don’t, it’s on you. Once again, we have taken the cruelly American, ruggedly individualistic tactic of making this about personal responsibility, not about a systemic response, just as we did in combating the virus itself.
“It’s not a public health strategy for any condition to just blame somebody into treatment and prevention,” said Rhea Boyd, a pediatrician and public health advocate. Telling the unvaccinated that they’re being selfish “really runs counter to all the work it’s going to take to convince those folks to be vaccinated, to trust us that we have their best interests in mind.”
It’s also shortsighted. If some people continue to struggle with getting vaccinated, the virus will continue to run rampant, threatening a rebound in economic activity and giving the coronavirus a chance to mutate yet again. The refrain we’ve heard throughout is still true: We’re not safe until we’re all safe.
Those who aren’t yet vaccinated are much more likely to be food insecure, have children at home and earn little. About three-quarters of unvaccinated adults live in a household that makes less than $75,000 a year. They are nearly three times as likely as the vaccinated to have had insufficient food recently. Many of them have pressing concerns they can’t just put aside because they need to get a vaccination.
Access is far more widespread than it was at the beginning of the year. Many cities now offer multiple venues for getting it without needing an appointment. But about 10 percent of the eligible population still lives more than a 15-minute drive from a vaccine distribution location. And even if there’s a site down the road, it usually requires taking time off work — not just to get the shot but also potentially to recover from the side effects — arranging transportation and figuring out child care.
“Missing out on a few hours of work seems very easy to us, but in fact it could be the matter of having food for the family versus not,” said Ann Lee, the chief executive of the nonprofit Community Organized Relief Effort. For these people, when they’re weighing whether to get a vaccination or potentially forgo some wages, “the wages are going to win out.”
Those who are unvaccinated are also likely to work in essential jobs like agriculture and manufacturing that don’t allow them to step away from work. They work long hours and may prioritize time with their families or communities when they finally get a break. People who have multiple jobs may find it impossible to schedule a shot in between all of their shifts.
And yet 43 percent of the unvaccinated say they definitely or probably would get it or are unsure, according to Julia Raifman, an assistant professor at the Boston University School of Public Health.
“We pretty quickly exhausted those who were easiest to reach and vaccinate,” Tara Smith, a public health professor at Kent State, told me. “This next phase is more difficult, but I don’t think it’s impossible to continue to get more people vaccinated. We just have to get creative.”
A block party doesn’t work in every community, particularly more rural ones. For those places, an event could be staged at a church or a county fair. Anything that allows people to discuss their concerns with experts and get vaccinated on the spot erases dangerous lag time. Dr. Tello’s organization found that many disappeared in the time between an educational conversation and a vaccination appointment weeks later.
Another way to take the vaccines to people for whom the logistics are complicated is to do it at workplaces. Ms. Lee’s organization held a vaccination drive at a construction site in Washington, D.C., and vaccinated 165 people. “They wanted to get vaccinated. There was just no way some of these day laborers were going to take off of work and maybe get sick,” Ms. Lee said. In January, Riverside, Calif., began a program to take vaccines into the fields to reach agricultural workers.
There are plenty of other smart places to distribute vaccines. Take them to food pantries, where low-income and food-insecure people show up by necessity on a regular basis. Do vaccinations at shopping centers where everyone goes to buy food. Vaccine drives could also be held on the first day of school for parents and older children alike; it’s late in the game, since it takes weeks for full immunity, but it’s better than missing them entirely.
Going door to door can also reach people, particularly those who are homebound. The Central Falls Housing Authority in Rhode Island offered shots to its public housing residents at the end of last year, and by January, 80 percent had been vaccinated. In Los Angeles, Ms. Lee’s team contacts the homebound first to talk through any concerns and again a week later to administer a vaccine. Vaccines could even be paired with Meals on Wheels deliveries.
To address transportation issues, the White House collaborated with Uber and Lyft to give free rides up to $25 to and from vaccination sites. But those companies don’t operate in every community, particularly outside cities. The government could also give grants to community organizations that can give people free rides to vaccination sites. “If you have a bus at a church, you can get a grant,” Dr. Boyd suggested.
We have to mandate paid leave so workers can take at least two days to get a shot and recover without jeopardizing their incomes. The Biden administration has offered tax credits to employers with fewer than 500 employees to cover the cost of offering paid leave for getting vaccinated, which he expanded this month. Some states, including New York, have mandated it. But everywhere else, it’s up to an employer to offer it, and if existing paid leave benefits are any guide, it’s the lowest-wage workers who are least likely to get it. The Occupational Safety and Health Administration released an emergency temporary standard in June that requires employers to provide paid time off to get vaccinated and recover, but it applies only to health care workers, despite the fact that a draft version included everyone.
Short of that, community organizations can send people home from getting vaccinated with enough food for their families if they have to miss work for a day or two. When Ms. Lee’s organization did testing in the Navajo Nation, it gave people two weeks of food in case they got a positive result and had to quarantine. It’s now sending people home with food as well as diapers, formula and hygiene kits with things like shampoo and tampons.
Parents also need child care — not just for getting their shots but also if they experience side effects. The government is working with four large child care providers to offer free care, but those centers may not be available to everyone, nor will all parents feel comfortable sending their children to an unfamiliar setting. Instead, we could give them money to pay their trusted source of child care and also offer care at vaccination centers.
State and local officials can kick-start some of this on their own. But the real money, and the power to set the agenda, comes from the White House and Congress. “If the federal government said, ‘We are really concerned, we see that low-income people have not had access to the vaccine, and we’re putting forth a huge effort to bring it to them in their workplaces and homes,’” Dr. Raifman said, “that would be a compelling message that would mobilize people across the country.” Federal funding needs to be filtered down to the local level as quickly as possible. There’s a lot of money for vaccinations, but it has to get to the organizations that are deeply embedded in their communities and ready to pull this off.
Dr. Tello’s organization plans to repeat the block party this summer, this time as a back-to-school event, handing out free backpacks and school supplies as well as flu shots alongside the Covid vaccines. And it will be timed so that those who got their first shot of the Moderna or Pfizer vaccine at July’s party can get their second dose on the spot. “Sometimes,” she said, “you have to make it too convenient so that people can’t say no.”
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परमेश्वर के प्रासंगिक वचन:
तहेदिल से परमेश्वर की आत्मा को स्पर्श करके लोग परमेश्वर पर विश्वास करते हैं, उससे प्रेम करते हैं, और उसे संतुष्ट करते हैं, और इस प्रकार वे परमेश्वर की संतुष्टि प्राप्त करते हैं; जब वे परमेश्वर के वचनों के संपर्क में आते हैं, तो परमेश्वर का आत्मा का उन पर भावनात्मक प्रभाव पड़ता है। यदि तुम एक उचित आध्यात्मिक जीवन प्राप्त करना चाहते हो और परमेश्वर के साथ एक उचित संबंध स्थापित करना चाहते हो, तो तुम्हें पहले उसे अपना हृदय अर्पित करना होगा, और अपने हृदय को उसके सामने शांत करना होगा। अपने पूरे हृदय को परमेश्वर की स्तुति में डुबोकर ही तुम धीरे-धीरे एक उचित आध्यात्मिक जीवन का विकास कर सकते हो। यदि लोग परमेश्वर को अपना हृदय अर्पित नहीं करते हैं और उस पर पूरी तरह विश्वास नहीं करते हैं, और अगर उनका दिल उन्हें महसूस नहीं करता है और वे परमेश्वर के बोझ को अपना बोझ नहीं मानते हैं, तो जो कुछ भी वे कर रहे हैं उससे केवल परमेश्वर को धोखा दे रहे हैं, और ये धार्मिक व्यक्तियों का केवल व्यवहार है—ये परमेश्वर की प्रशंसा प्राप्त नहीं कर सकता है।
— "वचन देह में प्रकट होता है" में "परमेश्वर के साथ एक उचित संबंध स्थापित करना बहुत महत्वपूर्ण है" से उद्धृत
आज पवित्र आत्मा के वचन पवित्र आत्मा के कार्य का गतिविज्ञान हैं और इसके दौरान पवित्र आत्मा के द्वारा मनुष्य का निरंतर प्रबोधन, पवित्र आत्मा के कार्य की प्रवृत्ति है। और आज पवित्र आत्मा के कार्य की प्रवृत्ति क्या है? यह आज परमेश्वर के कार्य और एक सामान्य आध्यात्मिक जीवन में दर्ज होने में लोगों का नेतृत्व करना है। ...
सबसे पहले, तुम्हें अपने दिल को परमेश्वर के वचनों में उड़ेल देना चाहिए। तुम्हें परमेश्वर के अतीत के वचनों का अनुसरण नहीं करना चाहिए, और न तो उनका अध्ययन करना चाहिए और न ही आज के वचनों से उनकी तुलना करनी चाहिए। इसके बजाय, तुम्हें पूरी तरह से परमेश्वर के वर्तमान वचनों में अपना दिल उड़ेल देना चाहिए। अगर ऐसे लोग हैं जो अभी भी अतीत काल के परमेश्वर के वचन, आध्यात्मिक किताबें, या प्रचार-प्रसार के अन्य विवरणों को पढ़ना चाहते हैं, जो आज पवित्र आत्मा के वचनों का पालन नहीं करते हैं, तो वे सभी लोगों में सबसे अधिक मूर्ख हैं; परमेश्वर ऐसे लोगों से घृणा करता है। यदि तुम आज पवित्र आत्मा का प्रकाश स्वीकार करने के लिए तैयार हो, तो फिर अपने दिल को आज परमेश्वर की उक्तियों में उड़ेल दो। यह पहली चीज़ है जो तुम्हें हासिल करनी है।
— "वचन देह में प्रकट होता है" में "परमेश्वर के सबसे नए कार्य को जानो और परमेश्वर के चरण-चिन्हों का अनुसरण करो" से उद्धृत
परमेश्वर में विश्वास करने में तुम्हें कम से कम परमेश्वर के साथ एक सामान्य संबंध रखने के विषय का समाधान करना चाहिए। परमेश्वर के साथ सामान्य संबंध के बिना परमेश्वर में विश्वास करने का महत्व खो जाता है। परमेश्वर के साथ एक सामान्य संबंध को स्थापित करना परमेश्वर की उपस्थिति में अपने हृदय को शांत करने के द्वारा ही किया जा सकता है। परमेश्वर के साथ एक सामान्य संबंध को स्थापित करने का अर्थ है परमेश्वर के किसी भी कार्य पर संदेह न करना या उसका इनकार न करना, बल्कि उसके प्रति समर्पित रहना, और इससे बढ़कर इसका अर्थ है परमेश्वर की उपस्थिति में सही इरादों को रखना, स्वयं के बारे में न सोचते हुए हमेशा परमेश्वर के परिवार की बातों को सबसे महत्वपूर्ण विषय के रूप में सोचना, फिर चाहे तुम कुछ भी क्यों न कर रहे हो, परमेश्वर के अवलोकन को स्वीकार करना और परमेश्वर के प्रबंधनों के प्रति समर्पण करना। परमेश्वर की उपस्थिति में तुम जब भी कुछ करते हो तो तुम अपने हृदय को शांत कर सकते हो; यदि तुम परमेश्वर की इच्छा को नहीं भी समझते हो, फिर भी तुम्हें अपनी सर्वोत्तम योग्यता के साथ अपने कर्तव्यों और जिम्मेदारियों को पूरा करना चाहिए। अभी देर नहीं हुई है, परमेश्वर की इच्छा का स्वयं पर प्रकट होने की प्रतीक्षा करो, और फिर तुम इसे अभ्यास में लाओ। जब परमेश्वर के साथ तुम्हारा संबंध सामान्य हो जाता है, तब तुम्हारा संबंध लोगों के साथ भी सामान्य होगा। सब कुछ परमेश्वर के वचनों पर स्थापित है। परमेश्वर के वचनों को खाने और उन्हें पीने से परमेश्वर की माँगों के अनुसार कार्य करो, अपने दृष्टिकोणों को सही रखो, और ऐसे कार्यों को न करो जो परमेश्वर का प्रतिरोध करते हों या कलीसिया में विघ्न डालते हों। ऐसे कार्यों को न करो जो भाइयों और बहनों के जीवनों को लाभान्वित न करें, ऐसी बातों को न कहो जो दूसरे लोगों के जीवन में योगदान न दें, निंदनीय कार्य न करो। सब कार्यों को करने में न्यायी और सम्माननीय बनो और उन्हें परमेश्वर के समक्ष प्रस्तुति योग्य बनाओ। यद्यपि कभी-कभी देह कमज़ोर होती है, फिर भी तुम अपने लाभों का लालच न करते हुए परमेश्वर के परिवार को लाभान्वित करने को सर्वोच्च महत्त्व दे सकते हो, और धार्मिकता को पूरा कर सकते हो। यदि तुम इस तरह से कार्य कर सकते हो, तो परमेश्वर के साथ तुम्हारा संबंध सामान्य होगा।
जब भी तुम कुछ करते हो, तो तुम्हें यह जांचना आवश्यक है कि क्या तुम्हारी प्रेरणाएँ सही हैं। यदि तुम परमेश्वर की माँगों के अनुसार कार्य कर सकते हो, तो परमेश्वर के साथ तुम्हारा संबंध सामान्य है। यह निम्नतम मापदंड है। जब तुम अपनी प्रेरणाओं को जाँचते हो, तो यदि उनमें ऐसी प्रेरणाएँ मिल जाएँ जो सही न हों, और यदि तुम उनसे फिर सकते हो और परमेश्वर के वचनों के अनुसार कार्य कर सकते हो, तो तुम एक ऐसे व्यक्ति बन जाओगे जो परमेश्वर के समक्ष सही है, और जो दर्शाएगा कि परमेश्वर के साथ तुम्हारा संबंध सामान्य है, और तुम जो कुछ करते हो वह परमेश्वर के लिए है, न कि तुम्हारे अपने लिए। तुम जब भी कुछ करते या कहते हो, तो तुम्हें अपने हृदय को सही रखना, और धर्मी बनना चाहिए, और अपनी भावनाओं में नहीं बहना चाहिए, या तुम्हारी अपनी इच्छा के अनुसार कार्य नहीं करना चाहिए। ये ऐसे सिद्धांत हैं जिनमें परमेश्वर के विश्वासी स्वयं आचरण करते हैं। एक व्यक्ति की प्रेरणाएँ और उसका महत्व छोटी बातों में प्रकट हो सकता है, और इस प्रकार, परमेश्वर द्वारा सिद्ध बनाए जाने के मार्ग में प्रवेश करने के लिए लोगों को पहले उनकी अपनी प्रेरणाओं और परमेश्वर के साथ उनके संबंध का समाधान करना आवश्यक है। जब परमेश्वर के साथ तुम्हारा संबंध सामान्य होता है, केवल तभी तुम परमेश्वर के द्वारा सिद्ध किए जाओगे, और केवल तभी तुम में परमेश्वर का व्यवहार, काट-छाँट, अनुशासन और शोधन अपने वांछित प्रभाव को पूरा कर पाएगा। कहने का अर्थ यह है कि लोग अपने हृदयों में परमेश्वर को रख सकेंगे, और व्यक्तिगत लाभों को नहीं खोजेंगे, अपने व्यक्तिगत भविष्य (अर्थात् शरीर के बारे में सोचना) के बारे में नहीं सोचेंगे, बल्कि वे जीवन में प्रवेश करने के बोझ को रखेंगे, सत्य का अनुसरण करने में अपना सर्वोत्तम प्रयास करेंगे, और परमेश्वर के कार्य के प्रति समर्पित रहेंगे। इस प्रकार से, जिन लक्ष्यों को तुम खोजते हो वे सही हैं, और परमेश्वर के साथ तुम्हारा संबंध सामान्य है।
— "वचन देह में प्रकट होता है" में "परमेश्वर के साथ तुम्हारा संबंध कैसा है?" से उद्धृत
संदर्भ के लिए धर्मोपदेश और संगति के उद्धरण:
परमेश्वर के साथ उचित संबंध स्थापित करते समय, हमें कहाँ से शुरू करना चाहिए? परमेश्वर से प्रार्थना करते समय दिल से बात करना सबसे महत्वपूर्ण बात है। उदाहरण के लिए, प्रार्थना में तुम कहते हो, "हे परमेश्वर, मैं देखता हूँ कि मेरे कई भाई-बहन तेरे लिए खुद को समर्पित करते हैं, लेकिन मेरी हैसियत बहुत छोटी है। मैं अपनी आजीविका, अपने भविष्य के बारे में सोचता हूँ और सोचता हूँ कि क्या मेरा शरीर भविष्य में कठिनाइयों का सामना कर पाएगा। मैं सब कुछ नहीं त्याग सकता। मैं वाकई तेरे कर्ज में हूँ। उनके पास इतना बड़ा कद कैसे हो सकता है? हम समान प्रकार के परिवारों से आते हैं। मगर वे खुद को परमेश्वर के लिए पूरे समय खपा सकते हैं, मैं ऐसा क्यों नहीं कर सकता? मुझमें सत्य की बहुत कमी है। मैं हमेशा अपने शारीरिक इच्छाओं की चिंता करता हूँ। मेरे पास पर्याप्त आस्था नहीं है। हे परमेश्वर, मैं चाहता हूँ कि तू मुझे प्रबुद्ध करे, मुझे रोशन करे, मुझे वास्तव में तुझ पर विश्वास करने और तेरे लिए जल्द से जल्द खुद को खपाने में सक्षम बना।" यह दिल से बात करना है। यदि तुम हर दिन, दिल से, इस तरह परमेश्वर के साथ संवाद करते हो, तो उसे पता चलेगा कि तुम ईमानदार हो और उसे मूर्ख बनाने या चिकनी चुपड़ी बातों में फंसाने और उसे धोखा देने की कोशिश नहीं कर रहे हो। तब पवित्र आत्मा अपना कार्य करेगा। परमेश्वर के साथ उचित संबंध स्थापित करने का यही अर्थ है। हम रचनाएं हैं, और वह सृष्टिकर्ता है। रचना जब अपने सृष्टिकर्ता के सामने खड़ी हो तो उसके पास क्या-क्या होना चाहिए? उसके पास सच्ची आज्ञाकारिता, स्वीकृति, विश्वास और आराधना होनी चाहिए। हमें अपने दिल पूरी तरह से परमेश्वर को दे देना चाहिए। उन्हें उसे अगुवाई करने, शासन करने और योजना बनाने देना चाहिए। इस तरह प्रार्थना करना और तलाश करना सही है। परमेश्वर के साथ उचित संबंध स्थापित करने का यही अर्थ है।
— जीवन में प्रवेश पर धर्मोपदेश और संगति से उद्धृत
परमेश्वर के साथ उचित सम्बन्ध कैसे स्थापित करें? बहुत से सिद्धांत इसमें शामिल हैं। पहला यह है कि तुम्हें परमेश्वर की सर्वशक्तिमत्ता और बुद्धि में विश्वास करना होगा, तुम्हें विश्वास करना होगा कि परमेश्वर के सभी वचनों को पूरा किया जाएगा। यही आधार है। यदि तुम परमेश्वर के वचनों में विश्वास नहीं करते हो, तो यह नहीं चलेगा, क्योंकि इससे वास्तविक विश्वास की कमी दिखाई देती है; परमेश्वर की सर्वशक्तिमत्ता में विश्वास करने में विफलता वास्तविक विश्वास की कमी दर्शाती है। दूसरा, तुम्हें अपना दिल परमेश्वर को देना होगा और परमेश्वर को सभी चीजों में अधिकार लेने देना होगा। तीसरा, तुम्हें परमेश्वर की परीक्षा को स्वीकार करना होगा, और यह महत्वपूर्ण है। यदि तुम अपनी प्रार्थनाओं और सहभागिता, अपने कार्यों और शब्दों के बारे में परमेश्वर की परीक्षा को स्वीकार नहीं करते हो, तो तुम परमेश्वर के साथ सच्ची सहभागिता कैसे कर सकते हो? क्या तुम उसे बता सकते हो कि तुम्हारे दिल में क्या है? जब तुम बोलते हो, तो तुम केवल अपने लिए प्रार्थना करते हो; जब तुम बोलते हो, तो तुम जो कहते हो वह झूठ के साथ मिश्रित होता है, बुरे इरादे रखता है, और दिखावे और झूठ से भरा हुआ है। यदि तुम परमेश्वर की परीक्षा को स्वीकार नहीं करते हो, तो क्या तुम इन चीज़ों को पहचान सकते हो? एक बार जब तुम परमेश्वर की परीक्षा को स्वीकार कर लेते हो, तो जब तुम गलत बातें कहते हो, निरर्थक शब्दों को कहने के बाद, वादे करने के बाद, तुम तुरंत सोचते हो, "अरे, क्या मैं परमेश्वर को धोखा नहीं दे रहा हूँ? यह परमेश्वर से झूठ बोलने जैसा क्यों लगता है?" यही परमेश्वर की परीक्षा को स्वीकार करना है, और इसी कारण से यह इतना महत्वपूर्ण है। चौथा, तुम्हें सभी चीजों में सत्य तलाशना सीखना होगा। शैतान के दर्शन पर भरोसा न करो, और तुम्हें लाभ होता है या नहीं, इस पर आधारित चीजें मत करो। तुम्हें सत्य का अर्थ निकालते हुए, सत्य की तलाश करनी चाहिए, फिर तुम्हें सत्य का अभ्यास करना चाहिए। व्यक्तिगत लाभों या नुकसानों की परवाह किये बिना, तुम्हें सत्य का अभ्यास करना चाहिए और सत्य कहना चाहिए, साथ ही एक ईमानदार व्यक्ति बनना चाहिए। नुकसान उठाना एक तरह का आशीर्वाद है; जब तुम नुकसान उठाते हो, तो तुम्हें परमेश्वर का और अधिक आशीष मिलता है। अब्राहम का कई बार फायदा उठाया गया, और लोगों से अपने संवाद के दौरान वह हमेशा समझौता किया करता था। यहाँ तक कि उसके सेवकों ने भी शिकायत की, "आप इतने कमज़ोर क्यों हैं? आइए उनसे लड़ें!" उस समय अब्राहम ने क्या सोचा? "हम उनके साथ नहीं लड़ेंगे। सब कुछ परमेश्वर के हाथों में है, और थोड़ा सा नुकसान उठाने में कुछ भी बुरा नहीं है।" नतीजतन, परमेश्वर ने अब्राहम को और भी आशीष दिया। क्या यदि सत्य का अभ्यास करने के कारण, तुम्हें अपने व्यक्तिगत लाभ के विषय में नुकसान भुगतना पड़ा है, और तुम परमेश्वर को दोष नहीं देते हो, तो परमेश्वर तुम्हें आशीष देगा। पाँचवाँ, तुमको सभी चीजों में सत्य का पालन करना सीखना होगा, यह भी महत्वपूर्ण है। जो व्यक्ति सत्य के अनुसार चीजें कहता है उसकी पहचान के बावजूद, चाहे जो व्यक्ति ऐसा कहता है उसके हमारे साथ अच्छे रिश्ते हों या न हों, और चाहे हम उसके साथ कैसे भी व्यवहार करते हों, जब तक उसकी बातें सत्य के अनुसार है, हमें उसका पालन करना चाहिए और वह जो कहता है उसे स्वीकार करना चाहिए। यह क्या दर्शाता है? यह दिखाता है कि मनुष्य के पास ऐसा दिल है जो परमेश्वर का सम्मान करता है। यदि कोई व्यक्ति सत्य के अनुसार बात करने वाले तीन-चार साल के बच्चे का पालन कर सकता है, तो क्या यह व्यक्ति किसी भी तरह से घमंडी है? क्या यह कोई ऐसा है जो अहंकारी है? वह बदल गया है, उसका स्वभाव बदल गया है ...छठा, अपने कर्तव्यों को पूरा करने में परमेश्वर के प्रति वफादार रहो। सृजित प्राणी के रूप में अपने कर्तव्यों को कभी न भूलो। यदि तुम अपने कर्तव्यों को पूरा नहीं करते हो, तो तुम कभी भी परमेश्वर की अपेक्षाओं को पूरा नहीं कर पाओगे। यदि मनुष्य अपने कर्तव्यों को पूरा नहीं करता है, तो वह कचरा है, और वह शैतान से संबंधित है। यदि तुम परमेश्वर के सामने अपने कर्तव्यों को पूरा कर सकते हो, तो तुम परमेश्वर के लोगों में से एक हो, क्योंकि यही वह पहचान है। यदि तुमने अपने कर्तव्यों को अच्छी तरह से पूरा कर लिया है, तो तुम एक योग्य प्राणी हो; यदि तुम अपने कर्तव्यों को पूरा करने में असफल रहे, तो तुम एक योग्य प्राणी नहीं हो, और तुम्हें परमेश्वर की मंजूरी नहीं मिलेगी। इसलिए, यदि तुम अपने कर्तव्यों को पूरा करने में परमेश्वर के प्रति वफादार हो, यदि तुम फिर परमेश्वर के संपर्क में आते हो, तो क्या परमेश्वर तुम्हें आशीष नहीं दे सकता? क्या परमेश्वर तुम्हारे साथ नहीं हो सकता? सातवाँ, सभी चीजों में परमेश्वर के पक्ष में रहो, परमेश्वर के साथ दिल और मन से एक होकर रहो। अगर तुम्हारे माता-पिता कुछ ऐसा कहते हैं जो सत्य के अनुसार नहीं है, जो परमेश्वर के ख़िलाफ़ विद्रोह करता है और परमेश्वर का विरोध करता है, तो तुम्हें परमेश्वर के पक्ष में खड़े होने में सक्षम होना चाहिए, तुम्हें अपने माता-पिता के साथ तर्क-वितर्क करना चाहिए, उन्हें अस्वीकार कर देना चाहिए, उनकी बातों को मानने से इनकार कर देना चाहिए। क्या यह गवाही देना नहीं है? क्या यह शैतान को शर्मिंदा कर सकता है? (हाँ, कर सकता है।) ...यदि मनुष्य इन सात सिद्धांतों का पालन कर सकता है, तो वह परमेश्वर की मंजूरी प्राप्त कर सकता है और तभी परमेश्वर के साथ उसका रिश्ता पूरी तरह से सामान्य होगा। ये सात सिद्धांत बहुत ही महत्वपूर्ण हैं।
— जीवन में प्रवेश पर धर्मोपदेश और संगति से उद्धृत
स्रोत: सर्वशक्तिमान परमेश्वर की कलीसिया
उपयोग की शर्तें: hi.kingdomsalvation.org/disclaimer.html
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kokomoperspective.com/local_sports/iu-kokomo-women-s-voll...
kokomoperspective.com/sports/iuk/iu-kokomo-selects-cross-...
kokomoperspective.com/lifestyles/indiana-university-kokom...
kokomoperspective.com/news/iu-kokomo-chancellor-s-message...
www.huffingtonpost.com/2010/11/23/auto-industry-bailout-p...
kokomoperspective.com/xtra/education/iu-kokomo-celebrates...
kokomoperspective.com/news/local_news/perspective-names-p...
kokomoperspective.com/kp/perspective-s-people-of-the-year...
kokomoperspective.com/xtra/education/iu-kokomo-prepares-h...
kokomoperspective.com/local_sports/cougar-women-s-volleyb...
www.prnewswire.com/news-releases/indiana-university-kokom...
whotalking.com/flickr/Chancellor
m.kokomoperspective.com/joe-biden-michael-harris-barack-o...
articles.southbendtribune.com/2011-10-02/news/30236848_1_...
kokomoperspective.com/milt-cole-and-chancellor-michael-ha...
kokomoperspective.com/search/?t=article&q=michael+harris
en.wikipedia.org/wiki/Michael_Harris_%28academic%29
kokomoperspective.com/news/local_news/transformation-begi...
nciia.org/network/conference/2010/presenters/michael_harris
www.in.gov/che/files/All_Bios.pdf
kokomoperspective.com/news/local_news/transformation-begi...
newsroom.iuk.edu/campus.html?start=270
www.spokeo.com/Michael+Harris+10
www.deseretnews.com/article/700084585/Auto-industry-bailo...
articles.southbendtribune.com/2011-10-02/news/30236848_1_...
www.utsandiego.com/news/2010/Nov/22/auto-industry-bailout...
www.huffingtonpost.com/2010/11/23/auto-industry-bailout-p...
tackk.com/michaelharrischancellor
www.insideindianabusiness.com/newsitem.asp?ID=51072
www.kokomoherald.com/main.asp?SectionID=52&SubSection...
www.prnewswire.com/news-releases/indiana-university-kokom...
avoyership13.moxai.com/chan-7603525/all_p2.html
bulldogs.kettering.edu/perspective/2010/08/01/china-2010/
www.kettering.edu/news/seeking-presence-china
www.facultyfocus.com/articles/academic-leadership/academi...
blogs.forbes.com/people/michaelharrischancellor/
www.businesswire.com/news/home/20100602005505/en/Ketterin...
www.mlive.com/news/flint/index.ssf/2010/02/post_92.html
www.mlive.com/news/flint/index.ssf/2010/02/post_92.html
blogs.forbes.com/people/michaelharrischancellor/
prezi.com/mqmsmgcgni1u/iu-kokomomoving-forward/
Chancellor Michael Harris IUK - On the Move
www.youtube.com/watch?v=uD3exIJ-hGs
The Big Move, Visioned, Initiated and Implemented by Chancellor Michael Harris IU Kokomo:
www.youtube.com/watch?v=mJIe0t6aDEU
The Big Move, Visioned, Initiated and Implemented by Chancellor Michael Harris IU Kokomo:
www.youtube.com/watch?v=mJIe0t6aDEU
homepages.indiana.edu/web/page/normal/22373.html
homepages.indiana.edu/web/page/normal/17736.htmlhtml
mydigimag.rrd.com/article/Up_Front/706709/67528/article.html
www.mlive.com/news/index.ssf/2008/08/swedish_king_to_visi...
www.deseretnews.com/article/700084585/Auto-industry-bailo...
www.youtube.com/watch?v=uD3exIJ-hGs
www.youtube.com/watch?v=uD3exIJ-hGs
www.youtube.com/watch?v=uD3exIJ-hGs
Notable Alumni of Tel Aviv University: en.wikipedia.org/wiki/Tel_Aviv_University#Notable_alumni
Chancellor Michael Harris, IU Kokomo. Expert Analysis
splashkokomo.com/2012/01/23/third-house-remained-hospitab...
www.slideshare.net/michaelharrischancellor/value-basedlea...
Chancellor Michael Harris, IU Kokomo, Expert Analysis
www.bizjournals.com/prnewswire/press_releases/2011/05/19/...
www.reuters.com/article/2011/05/20/idUS35859+20-May-2011+...
kokomoperspective.com/xtra/education/indiana-university-k...
kokomoperspective.com/news/kokomo-wins-indiana-associatio...
kokomoperspective.com/news/kokomo-wins-indiana-associatio...
kokomotribune.com/local/x1526182114/Alliance-highlights-K...
kokomoperspective.com/indiana-university-kokomo-chancello...
IU Notable Alumni
en.wikipedia.org/wiki/List_of_Indiana_University_(Bloomington)_people
Michael Harris - "A viking with a heart of a mother and an Incandescent spirit."
Seguir o Cordeiro e cantar cânticos novos
e louve a vinda do reino de Deus ao mundo!
melhor música gospel 2018
pt.godfootsteps.org/videos/follow-God-along-rough-path-mv...
Lori Deiter and I planned to hike the Falls Trail on Feb 1st... It was decided to hike in from Rte 118 up to Onondaga Falls on Glen Leigh. Mark Van Scyoc and his friend, Doug Reese met us in the parking lot and we hiked up together to B. Reynolds and they left to hike up to the base of Ganoga Falls. My favorite / highlight of the day was the ice leading up to and around Ozone Falls - awesome.
Ricketts Glen State Park
Luzerne County, Pennsylvania
Saturday, February 1st, 2014
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Our Lady & The English Martyrs, Cambridge
stepneyrobarts.blogspot.co.uk/2013/02/our-lady-english-ma...
Yesterday I revisited St Peter for internals and finished of Cambridge, visiting seven Victorian built churches only one of which, Our Lady & The English Martyrs, is worth writing up.
At first sight I wrote OLEM off as a Victorian Gothic monstrosity but as I wandered around the exterior I was struck by the quality of the building and the interior stunned me with lots of rather good glass and impressive architecture (oh and apart from three revisits, Babraham, Guilden Morden and Stow cum Quy, that finished the north west quadrant).
The Church of Our Lady and the English Martyrs, or OLEM, is situated in the heart of the city of Cambridge. An imposing example of the 19th Century Gothic Revival, it was built to the designs of Dunn & Hansom of Newcastle between 1885 and 1890, and founded solely by Mrs Yolande Marie Louise Lyne-Stephens, a former ballet dancer at the Paris Opera and Drury Lane, London, and widow of a wealthy banker. She promised to build the church on the feast of Our Lady of the Assumption, and Monsignor Christopher Scott - the first Rector - also wished to commemorate the Catholic Martyrs who died between 1535 and 1681, over thirty of whom had been in residence at the University.
Designed by architects Dunn and Hansom of Newcastle and built by the Cambridge firm of Rattee and Kett, OLEM is constructed in Casterton, Ancaster and Combe Down Stone. The church is a traditional cruciform structure in the early-decorated style with a large tower at the crossing, a polygonal apse and a west bell tower with a 65-metre spire, visible for miles around Cambridge. Quite often, it is quoted by visitors and local residents as a location point. The approximate internal dimensions of the church are: length 48 meters [156 ft] width across the aisles 16 meters [51 ft] width at the transepts 22 meters [71 ft], the height of the nave 15 meters [71ft].
Inside and over the west door stands the figure of Our Lady of the Assumption crowned with lilies and standing on the crescent moon with the vanquished serpent beneath. The west window shows the English Martyrs arranged in two principal groups, the clergy on the south side with St John Fisher in their midst and the laity on the north grouped round St Thomas More.
Beside the South aisle is an ancient statue of Our Lady with the Child Jesus. This statue is understood to be a gift in 1850 from Emmanuel College, which was built on the site of a Dominican Priory dating back to 1274. The Church of the Black Friars of Cambridge contained a statue of Our Blessed Lady to which much pilgrimage was had. Although unconfirmed this could be that statue.
The Chapel of the Holy Souls with the book of Remembrance is located at the west end of the south aisle. The sculpture above the altar depicts the solace and relief of the Holy Souls in Purgatory through the intercession of Our Lady and the angel who comforted Our Lord in Gethsemane. The Chapel is now appropriately used at the two great Christian celebrations: at Easter for the Empty Tomb indicating the Risen Lord, and at Christmas for the Crib.
The aisle windows were almost completely destroyed when the church was struck by a bomb on 1941, but were subsequently replaced in their original form. They epitomise the various sufferings of the English Martyrs, their being brought before the Council, racked, hung, drawn and quartered in the sight and sympathy of the faithful. The windows of the north aisle portray Carthusians, St Thomas Moore, B. Margaret Pole and others, while the south aisle is made a “Fisher Aisle”, devoted to scenes from the life of St John, Cardinal Bishop of Rochester, who in so many important ways is identified with Cambridge.
The best general impression of the interior is obtained from the gateway in the iron screen dividing the nave from the ante-chapel. The heads of the four great preachers of Our Lady’s Graces are carved in the four corners of the nave. The windows along the nave represent saints connected with the Church in Britain, arranged approximately in chronological order from east to west with a few additional figures in the eastern windows.
The Rood which is between the nave and the sanctuary is of the type known as “Majestas”; the figure of Our Lord, with glorified wounds, robed in alb, stole and pallium [as High Priest] and crowned [as King “reigning from the Tree”]. This was the earliest type of crucifix; the realistic figure, now almost universal, did not come into general use until the beginning of the thirteenth century. The cross, inspired by that at Nuremberg, is about 6 metres high, carved in oak; the figures of Christ and of Our Lady and of Saint John are of Kauri pine. They were carved locally by Mr. B. Maclean Leach and completed and blessed in 1914.
Beyond the present, modern altar is the High Altar with the relics of Saints Felix and Constantia, martyrs of the early Church. The tabernacle and ornaments of the altar are of exquisite French workmanship from Lyons. The baldacchino which covers the High Altar is similar to that over the tomb of Robert the Wise (1275-1343) at Santa Chiara, Naples. It is one of the earliest forms of adornment of a Christian altar. At the top is the figure of Our Lord in glory supported on each side by angels in act of adoration.
The design and the re-ordering of the sanctuary was done by Mr. Gerard Goalen of Harlow after the Second Vatican Council. On 7th April, 1973, Bishop Charles Grant consecrated the present central. The original High Altar has subsequently been used mainly for reservation of the Blessed Sacrament.
CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Kamera: Nikon FE2
Linse: Nikkor-S Auto 35mm f2.8 (1974)
Film: Kodak 5222 @ ISO 400 -1EV
Kjemi: Xtol (stock / 9 min. @ 20°C)
Monday 30 December 2024: My New Year resolutions for 2025:
1. Do not buy or use any goods or services coming from Israel or their Occupied Palestinian Territories. Boycott Israel - the most racist, fascist, immoral and genocidal apartheid country in the world.
For me, this is a simple operation and will only involve my total boycott of the Israeli online genealogy platforms MyHeritage and Geni. I have no interest in any other consumer product coming out of Israel. But many of you may have heard of Ahava Dead Sea products coming from the Occupied Territories. Don’t buy it, don’t use it.
2. Do not buy or use any American goods or services as far as it is humanly possible today. They only use their income for WAR. The only way to stop this MADNESS is to stop buying and using their goods and services. Money to the USA is money to Israel.
This task is not as simple as boycotting only Israeli goods and products, but I will do my best - just like the USA has done it’s best in supporting Israel’s genocide in Gaza, providing Israel with weapons and incredible amounts of money, abusing their powers in the UN Security Council, working against international law and justice, supporting apartheid and never ever actually supporting or working to establish a Free Sovereign Palestine.
Israel seems to have become a way for all the corrupt American politicians in their archaic 'democratic' system to get an extra income under the table, directly stealing from the people, and for the American War Industries to thrive and grow; it is a Perpetuum mobile where US politicians donate money to Israel and where Israel in return use those money given to buy off US politicians [tax-deductible] and buying their weapons to slaughter Palestinians.
Americans get their money back [but first, some commercials] [without paying taxes] [under the table] and the Israelis get their fascist religious extremist zionist dreams come true. Incidentally, Israel's bizarre dreams of grandeur are closely linked to the American voters' archaic dreams of extremist christian zionist Eschatology. These people all belong in the Bronze Age.
USA has for so many years since the end of the Cold War been endangering all of Europe’s security by abusing the NATO alliance (this abuse started back in 1999 with the bombing of Yugoslavia!) presiding over a European proxy war with Russia via Ukraine - a war that now even involves North Korea (WTF!) and has killed hundreds of thousands of lives in Europe and flooded Western Europe with refugees once again! It needs to stop, and our own nations and politicians who are hostages to the American gangster regime can do no other - so therefore I can no longer justify MY feeble hard-earned money feeding this warmongering genocidal nation. It has to stop, and the only way I can make a miniscule difference is by boycotting American goods and services.
- First on my list: Mark Zuckerberg (1984) and his his Facebook and all of Facebook's subsidiaries through Meta. Easy. Done. Nothing!
- Second on my list: Larry Page (b. 1973) and Sergey Brin’s (b. 1973) Google and Alphabet Inc. - this is not so easy. This company with their search engine, Gmail and their subsidiary companies like YouTube and Android have infested the whole world. Instead of Google's search engine I have been using DuckDuckGo for years - but this is also an American company so my search will go on for something more safe and European.
As for Gmail, I am using Swiss Proton Mail instead but I have yet to to make the cut final. I hope I will be able to do so during the course of 2025.
As for YouTube, I have no clear alternative right now that is not American.
Android is easy - I never used it. But instead of Android I use Apple - which I feel is safer - but here is the problem - it is an American company. Maybe the solution is to go full-on dumbphone and get a Swiss Punkt. I might in fact do that.
What do you really need an American ‘smartphone’ for anyways? Life is analogue.
More American companies and platforms to boycott:
- Amazon Inc. - I can get most of my (paper) books and other stuff I usually buy on Amazon locally anyways. Amazon is a convenient marketplace, that's true - but it’s American and I’d rather suffer a little inconvenience just to not let the Americans get my money.
- eBay - again, such a great platform and marketplace for (in my case) photographic camera equipment and whatnot - but then again - if I could buy directly from Japanese camera stores with ease and no American involvement I would do so in a heartbeat without using American eBay. Let’s hope the Japanese evolve their international trade in this regard.
As for FILM there's plenty of European film providers; hey, we were first with film and photography anyways and have long traditions still thriving and living here. But I do love Kodak 5222. This is a problem - but at least I only use European chemicals these days. Foma and Tetenal.
- PayPal - also a very convenient platform to use, but goddamned this is the brainchild of Elon Musk (b. 1971) and I’ll do my very best to never support that fascist bastard. You’ll never see me driving an American car either, and certainly not a Tesla. Most unethical car ever.
- Airbnb - an American company that makes it easy to rent a room or a house for anyone in all those illegal Israeli settlements in the Occupied Palestinian Territories - it's just as sick as if American tourists through a 'tourist agency' could come and live in Nazi german confiscated Norwegian flats, houses and cottages to relax or just 'experience' Nazi occupied Norway in 1941. This is exactly what Airbnb is making possible in the Occupied Palestinian Territories these days - and I shall never, ever use Airbnb.
OK, that’s a lot but we’re not finished yet.
- Disney - Easy. They destroyed Star Wars. Done!
- Pepsi and Coca-Cola - Done. Never again. There are many other local alternatives. Easy!
- McDonald’s and Burger King - Done. Easy. Probably the worst hamburgers in the world anyways.
So when it comes to consumer products that you get in the general store, there are two really big and awful companies that I will do my best to never buy their products ever again. These two companies are the American-owned Mondelez International and the Swiss company Nestlé together with all their subsidiaries and brands.
Things not to buy (applicable to me):
- Douwe Egberts coffee (Mondelez)
- Toblerone chocolate (Mondelez)
- Heinz products (Mondelez)
- L’Oréal and ALL their subsidiary products Garnier, Maybelline, Biotherm, Lancôme, Prada, Yves Saint Laurent, Kérastase, Guy Laroche, Redken (Nestlé)
- Nespresso (Nestlé)
- Nescafé (Nestlé)
- Nesquik (Nestlé)
- Nestea (Nestlé)
- Smarties chocolates (Nestlé)
- After Eight chocolate (Nestlé)
- Maggi products (Nestlé)
- Purina dogfood (Nestlé)
[and Friskies catfood for those of you with cats - also Nestlé]
- Freia chocolate products (Mondelez) [The chocolate that could never ever ever be sold to Sweden otherwise we would lose our independence AGAIN - but which could easily be sold to America instead. Remember all those Edvard Grieg Freia commercials?]
- Friele coffee (Mondelez) in Bergen which also produce ALL the norwegian COOP cooffee products and ALL the swedish Gevalia coffee brand products
- Marabou candy and ALL their chocolate products (Mondelez)
Allright, so already quite an extensive list and that’s not half of it.
Therefore at the end, I want to inform you all about the Boycat app - the Ethical Shopping and Boycott Companion. Use it.
And if you have more suggestions of Israeli and American companies, products and services to boycott, do let me know. I’m eager ears.
PS: I am fully aware that Flickr is American. There are many good things coming out of America. I hope in 2025 USA can change their ways.
www.valleyindiatimes.com/columns/artsofindia/10_09.html
"Madhubani painting or Mithila Painting is a style of Indian painting, practiced in the Mithila region of Bihar state, India.
[edit] Origins
The origins of Madhubani painting or Mithila Painting are shrouded in antiquity. Tradition states that this style of painting originated at the time of the Ramayana, when King Janak commissioned artists to do paintings at the time of marriage of his daughter, Sita, to Lord Ram.
Madhubani painting has been done traditionally by the women of villages around the present town of Madhubani (the literal meaning of which is forests of honey) and other areas of Mithila. The painting was traditionally done on freshly plastered mud wall of huts, but now it is also done on cloth, hand-made paper and canvas.
As Madhubani painting has remained confined to a compact geographical area and the skills have been passed on through centuries, the content and the style have largely remained the same. Madhubani paintings also use two dimensional imagery, and the colors used are derived from plants. Ochre and lampblack are also used for reddish brown and black respectively.
Madhubani paintings mostly depict nature and Hindu religious motifs, and the themes generally revolve around Hindu deities like Krishna, Ram, Shiva, Durga, Lakshmi, and Saraswati. Natural objects like the sun, the moon, and religious plants like tulsi are also widely painted, along with scenes from the royal court and social events like weddings. Generally no space is left empty; the gaps are filled by paintings of flowers, animals, birds, and even geometric designs. objects depicted in the walls of kohabar ghar (where newly wed couple see each other in the first night) are symbols of sexual pleasure and procreation.
Traditionally, painting was one of the skills that was passed down from generation to generation in the families of the Mithila Region, mainly by women. The painting was usually done on walls during festivals, religious events, and other milestones of the life-cycle such as birth, Upanayanam (Sacred thread ceremony), and marriage.""
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
JV Boys - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Ridgeview Tino Romero 11:17.25 1 1 1
2. Wasco Oscar Gomez 11:26.11 2 2 1
3. East Marc Sotello 11:26.90 3 x 1
4. Shafter Matthew Yanez 11:34.14 4 x 1
5. McFarland Grenardo Garcia 11:34.63 5 x 1
6. Highland Juan Delgado 11:37.47 6 3 1
7. Centennial Brandon Ballard 11:38.17 7 4 1
8. Ridgeview Ernesto Castillo 11:38.94 8 5 2
9. Shafter Elias Picazo 11:40.09 9 x 2
10. Ridgeview Sukhwinder Singh 11:42.25 10 6 3
11. Wasco M. Vasquez 11:49.94 11 7 2
12. East Felix Trevino 11:51.62 12 x 2
13. Ridgeview Tree Hoisson 11:52.34 13 8 4
14. Stockdale Raymon Griggs 11:52.62 14 9 1
15. Highland Rafael Alcaraz 11:53.30 15 10 2
16. East Esteban Vargas 11:54.83 16 x 3
17. McFarland Adam Marquez 11:56.93 17 x 2
18. Frontier Corry Harris 12:02.24 18 11 1
19. Highland M. Shaffer 12:04.99 19 12 3
20. Highland Jo Dixon 12:05.53 20 13 4
21. Centennial Nick Trieberg 12:06.03 21 14 2
22. Highland Daniel Espinosa 12:07.15 22 15 5
23. Foothill Cesar Espinosa 12:10.84 23 16 1
24. Highland Ernan Lopez 12:18.78 24 17 6
25. Stockdale P. Bowen 12:25.59 25 18 2
26. Stockdale Andrew Worth 12:26.63 26 19 3
27. Foothill Jovani Pineda 12:32.47 27 20 2
28. Centennial Jake Smoot 12:33.35 28 21 3
29. Foothill Robert Guillen 12:36.97 29 22 3
30. Garces Jose Lopez 12:37.53 30 23 1
31. Highland Pablo Santiago 12:38.23 31 24 7
32. Ridgeview Ian Dowot 12:38.71 32 25 5
33. Frontier Ramon Sanchez 12:42.97 33 26 2
34. Foothill Peter Reyna 12:45.32 34 27 4
35. Ridgeview Hector Garay 12:45.76 35 28 6
36. Frontier Brian Cisneros 12:46.11 36 29 3
37. Stockdale Cornelius Sockey 12:49.24 37 30 4
38. Stockdale Nick Haley 12:49.57 38 31 5
39. Frontier Christopher Bedke 12:51.77 39 32 4
40. Frontier Chris Corral 12:52.80 40 33 5
41. Centennial CJ Carr 12:55.06 41 34 4
42. Ridgeview Arty Sanchez 12:55.60 42 35 7
43. Garces Dominic Gallegos 12:56.21 43 36 2
44. Foothill Oscar Rivera 12:57.02 44 37 5
45. Shafter Jonatan Lopez 12:59.96 45 x 3
46. Stockdale Evan Szablowsk 13:01.10 46 38 6
47. BHS Hector Sanchez 13:02.38 47 39 1
48. Foothill Guillermo Cisneros 13:05.95 48 40 6
49. Stockdale Jit Malay 13:06.90 49 41 7
50. Highland Nick Lopez 13:07.10 50 42 8
51. Centennial Craig Varner 13:15.59 51 43 5
52. Highland Tyler Dunlap 13:20.14 52 44 9
53. Stockdale Davis McLeod 13:20.73 53 45 8
54. Foothill Luis Garcia 13:22.06 54 46 7
55. Shafter Miguel Sanchez 13:23.34 55 x 4
56. Independence Curtis Valencia 13:25.34 56 47 1
57. Wasco Kyle Bearley 13:26.41 57 48 3
58. Ridgeview Martin Oropeza 13:27.08 58 49 8
59. Frontier Chris Mount 13:28.88 59 50 6
60. Wasco Anthony Ramirez 13:29.86 60 51 4
61. Frontier Jairo Garcia 13:34.10 61 52 7
62. Stockdale Kevin Chun 13:37.01 62 53 9
63. Foothill Marcos Sandoval 13:38.55 63 54 8
64. Arvin Jose Rodriguez 13:39.04 64 x 1
65. Frontier Steven Saenz 13:39.36 65 55 8
66. Stockdale John Bracamant 13:40.57 66 56 10
67. Wasco Kr. Brown 13:43.42 67 57 5
68. Stockdale Adrian Esquivas 13:45.00 68 58 11
69. Stockdale Joshua St. Clair 13:46.57 69 59 12
70. BHS Josh Harbin 13:49.65 70 60 2
71. Mira Monte Hislon Belo 13:53.35 71 x 1
72. Stockdale Eric Jorgensen 13:56.96 72 61 13
73. Garces Anthony Martinez 14:05.99 73 62 3
74. Arvin Rodger Tabada 14:15.08 74 x 2
75. Stockdale Phillip Radon 14:16.70 75 63 14
76. Stockdale Landon Medina 14:18.10 76 64 15
77. East Donald Sanchez 14:18.32 77 x 4
78. Frontier Spencer Cordova 14:25.94 78 65 9
79. Frontier Matt Walker 14:32.16 79 66 10
80. Wasco Arturo Miranda 14:32.82 80 67 6
81. Highland Luis Lopez 14:36.85 81 68 10
82. Independence Devin Lane 14:43.22 82 69 2
83. Garces Sterling Garza 14:43.64 83 70 4
84. Mira Monte Michael Pineda 14:45.10 84 x 2
85. Stockdale Joshua Le 14:45.99 85 71 16
86. Independence Michael Gallarza 14:46.50 86 72 3
87. Foothill William Saavedra 14:48.22 87 73 9
88. BHS Trevor Dalke 14:48.96 88 74 3
89. Independence Andrew Cruz 14:57.45 89 75 4
90. Highland Alex Harrell 15:01.62 90 76 11
91. BHS Wesley Elrich 15:02.07 91 77 4
92. Frontier Jason Phillips 15:02.54 92 78 11
93. Foothill Mason De La Cruz 15:03.92 93 79 10
94. Highland Estevan Espinoza 15:06.66 94 80 12
95. Mira Monte Rick Mendoza 15:08.42 95 x 3
96. Foothill AJ Lara 15:09.07 96 81 11
97. Centennial Jarod Kashwer 15:13.28 97 82 9
98. Highland Ryan Gonzalez 15:28.65 98 83 13
99. BHS Andres Eagleson 15:35.28 99 84 5
100. Frontier Kevin Sanchez 15:41.75 100 85 12
101. Centennial Brent Williams 15:46.70 101 86 10
102. Ridgeview Eric Jacques 15:46.93 102 87 9
103. Garces P. Newman 15:55.87 103 88 5
104. Foothill Jose Mejia 16:22.51 104 89 12
105. Independence Sky Payne 16:38.36 105 90 5
106. Foothill Logan Power 20:16.50 106 91 13
107. Arvin Oswaldo Leyva 24:45.86 107 x 3
108. North Sonny Medina 25:53.00 108 x 1
Sabre Natura Flatware in Light Blue: www.didriks.com/natura-5-pc-place-setting-sabre.html
Sabre Confetti Dinnerware in Kaki and Yellow: www.didriks.com/sabre-flatware-paris/sabre-paris-dinnerware/
Chilewich Lattice Placements in Aqua: www.didriks.com/lattice-placemats-rectangular-Chilewich.html
Iittala Toikka Rusee Grebe Glass Bird: www.didriks.com/iittala-Toikka-Rusee-Grebe.html
Iittala Teema collection:
Deep Serving Bowl: www.didriks.com/iittala-Teema-Deep-Serving-Bowl.html
Purnukka Small Jar: www.didriks.com/iittala-Purnukka-Small-Jar.html
Teapot: www.didriks.com/Teema-Teapot-iittala.html
Milk Jar: www.didriks.com/iittala-Teema-Milk-Jar.html
Iittala Aino Aalto Pitcher: www.didriks.com/iittala-Aino-Aalto-Pitcher.html
Iittala Aino Aalto Small Tumbler in Water Green: www.didriks.com/Aalto-Small-Tumbler.html
Libeco Home Vence Linen Napkin in White: www.didriks.com/Vence-Linen-Napkin-by-Libeco-Home.html
Verso Design Marja Large Trivet in Yellow: www.didriks.com/marja-large-trivet.html
www.childrenscottagehomes.org.uk/fazakerley.html
These cottage homes in Liverpool were built in 1888 and opened on 27th March 1889 by the West Derby Union. They continued to function as children's homes until, according to archive records, 1964.
Fazakerley is an area near to University Hospital Aintree, to the north of Liverpool.
There were 24 cottages in the complex each of which could house up to 25 children - a grand total of 600 children. At the top of the drive was a large clock tower. At some point, perhaps in the 1950s, the cottages were no longer known by their numbers but were given names after flowers or plants - perhaps suggested by what was growing in their gardens.
A quote from a former resident of the cottage homes (from the Liverpool History Society blog)
"I was in the Fazakerley Cottage Homes in about 1961 or 1962. It was the first time my siblings and I had been away from our parents. My mother was ill in hospital and my father couldn't cope with us. I was 7 or 8 at the time and I was placed there with my brother and two sisters. We were looked after by two old ladies (I can't remember their names) who were very strict. I had a birthday shortly after being sent there, they did a bit of a special tea for me, but we were not allowed to talk at the table, we ate in silence. I remember my brother being sick because they made him eat tinned spaghetti which he hated, then they shouted at him for being sick! Then said "he couldn't have his cake either" as punishment. I remember being forced to wear shoes that were way too small for me as they didn't have any to fit me, and they wouldn't buy any, as the place was due to be closed. I subsequently ended up with deformed toes (hammer toes, I think they're called).The only positive memory I have of the Homes is that one of the ladies taught me to embroider. I used to sit at her feet while she taught me different stiches."
All these photos can also be seen on my new Facebook page...
www.facebook.com/LiverpoolThenAndNow
Please feel free to add any comments, corrections, additional info or memories you may have, and if you know anyone else who might be interested, please feel free to let them know about it.
I have contacted the owners of as many 'original' photos as I can to ask their permission to use it in this way, and where they have requested it, I have credited them accordingly. However, if you are the copyright holder and I haven't yet been able to contact you, please do get in touch and I'd be happy to add any details, credits or links, or remove the photo if you wished..
Thanks for looking, I hope they are of some interest!
From Historic US 99 Guide
gbcnet.com/ushighways/US99/US99b.html
This bridge also carried US 60 and US 70 and was in operation from 1925 to 1952 when it was replaced by the freeway (Expressway?) ('not' the I-10) . Mt San Jacinto is in the background.
Indio and Palm Springs
Like the Imperial Valley, Indio and Palm Springs are part of the arid Colorado Desert and have thrived because of it. Indio is known as "The Date Capital of the World" and of course, Palm Springs is noted as the playground of the stars. In recent years, Palm Springs and the surrounding cities have become retirement havens due to the year round warm weather. This area is significant for highway history since it is located near the divergence of US 60 and US 70, two major transcontinental routes, from US 99.
After the junction with SR-195, SR-86 continues northwest. This section is little changed from the days when it was signed as US 99. In fact, between Riverside County post mile 2.00 and the intersection with SR-195 there are some sections of very old road dating from the 1920s to the east side. This road is the single slab By 2000, this section of SR-86 will be relinquished by the state since the SR-86 expressway will follow the alignment of SR-195 north to SR-111. This is probably fortunate since it means there will be no designs for widening or otherwise altering this section of road, even though it does mean the end of state maintenance.
SR-86 (Harrison St) continues due north to the intersection with Grapefruit Blvd, which is former SR-111, although it is still signed as such. The road here was widened to the current four lanes in 1956 as part of the expressway/freeway that went to Los Angeles. Almost immediately after at the next signal is Dillon Rd. As inauspicious as it looks, this intersection is where US 60 and US 70 converged with US 99. According to the old maps, this interchange was in use from sometime in the 1930s to 1972 when it was bypassed by I-10. From this intersection to Los Angeles, US 99 was co-signed with US 70 and US 60, intermittently, to Los Angeles. The three routes continued north on Grapefruit Blvd, which now turns into Indio Blvd. The overpasses are newer, being built during the 1960s and 1970s. However, this road was divided as it is now at the time it was US 99. This section was
A few miles to the north, Indio Blvd crosses the railroad tracks over two bridges, then merges with I-10. The westbound bridge was built in 1936 as part of the widening of US 99 from the single slab of concrete to a full two lane road. The eastbound bridge was built in 1956 as a part of the four lane expressway/freeway. From this interchange to just south of Ramon Rd, the original routing follows the freeway on the north side as a frontage road. This road is now called Varner Rd. and several sections still have signs of the original concrete showing through the asphalt overlay. After the merge with Indio Blvd, current I-10 was part of the expressway and subsequently widened. At Ramon Rd, the original alignment of US 99, along Varner Rd. splits to the north of the freeway. Like the frontage road to the east, this section of US 99 was bypassed by the expressway/freeway around 1952. The freeway, the newer alignment of US 99, remains essentially unchanged, with the exception that the original concrete has been paved over with asphalt and additional lanes were added on the outside. Just north of Palm Ave, the route of old US 99 rejoins the freeway, but Varner Ave now ends just short of the freeway. One who is nitpicky, like myself, would notice that the lines from the concrete expansion joints that show through the asphalt on Varner Rd. do not correspond with the current lane markings. This is because a lot of the original portions of US 99 were paved as single slab concrete in the 1920s and a small strip of concrete was added along the sides to enable the road to accommodate two cars going in opposite directions In all honesty, there is not much to see to the west of Palm Ave; the best thing is to get back on the freeway at Palm Ave.
The San Gorgonio Pass
This pass is named after the giant Mt San Gorgonio which lies on the north side. This is the tallest peak in southern California with a height of 11,499 feet. The pass is flanked on the south end by Mt San Jacinto (hah-SEEN-toh is the correct pronunciation), which is no small peak at 10,804 feet. In some ways this mountain is even more impressive than Mt San Gorgonio since it is part of a range that drops off sharply at the pass. In fact, the top of Mt San Jacinto is a mere six miles to the south of I-10! The San Gorgonio Pass itself is the only easily passable opening through the coastal ranges to southern California and has played a big role in the region's development. It was the construction of the Southern Pacific rail line through here that put Los Angeles on the map. In fact, it was this rail line that favored Los Angeles over San Diego, even though San Diego has its beautiful natural harbor. It is appropriate that US 99, the major highway in California follows this line into Los Angeles.
The stretch of freeway north of here was built as I-10 from 1962-67, although parts are merely widened portions of the 1952 expressway. Just to the west of the interchange with SR-111, portions of the original alignment of US 99 remain as frontage road. A distinctive feature is the white painted wood posts characteristic of bridges from the 1920s and 1930s. This can be reached by exiting at Verbenia Ave (the first exit west of SR-111) and taking it to the south frontage road. This road continues for five miles to the East Cabazon exit. There is a well preserved four lane divided section of US 99 visible at the Cabazon exit which is part of the expressway, but which was bypassed by the freeway in 1964. This really gives a good idea of what a typical town was like on 99 or any other old US highway. Unfortunately, this town has really died out since it was bypassed, much like a lot of other US 99 towns.
The road rejoins I-10 and at this point there is no choice but to head west on I-10. At the next exit, it is possible to reach some old segments of US 99 which acted as frontage road. This road is no longer maintained for vehicular use which makes it somewhat difficult to reach. These sections are well worth the effort it takes to get to them since the old concrete joints are visible through the asphalt overlay as well as the old style broken white line which separated both directions of traffic. There are also a couple more old style bridges which have been preserved. This section ends at the Ramsey St. on-ramp and the only way to get back to I-10 and the rest of the tour is to back-track to the last exit.
The town of Beaumont were bypassed in 1956 by the freeway west of the Ramsey St. off-ramp. Ramsey St. (or 6th St. in Banning) is the original routing of US 99 and still is an important street for the twin towns as many of the traveler oriented businesses still line this street. These towns still give an excellent feel for the way US 99 looked, especially since most of the buildings date back from before the freeway. Sixth St. in Banning is still the split level divided four lane road that it was when it was 99.
The freeway itself bears little resemblance to when it was originally constructed due to the fact that it was widened to eight lanes in 1969-70. Beyond SR-243, the freeway bypassed the town of Banning in 1961. Again this was widened in 1970. A little fun fact about the names of these two towns. Beaumont is a derivative of the French word for "beautiful mountain," a description that holds well in this area. Banning is named for Phineas Banning, the Army General who built the first railroad through this area.
At the western edge of Banning is the junction of I-10 and SR-60 which was built in 1961 as the US 60 / US 99,US 70 (I-10) separation. On one of the overhead signs on I-10 westbound it is obvious that an US 60 shield was covered by an SR-60 "greenout" cover because the white edges are still visible. US 60 did not rejoin US 99 until San Dimas, over 50 miles to the west, but US 70 remained co-signed with US 99 to the intersection with US 101.
The Foothills and San Bernardino
Even though the San Gorgonio Pass offers relatively easy access to metropolitan Los Angeles, there are still some hills to be crossed. While they are low and rolling, they posed an obstacle to the railroad; as a consequence it splits from US 99 (I-10) just west of Banning, following San Timiteo Canyon and rejoins US 99 at the outskirts of San Bernardino. San Bernardino was established as a Mormon settlement and marked the end of the Mormon Trail. This trail paralleled what is now I-15, although it started/ended its passage over the San Bernardino Mountains near the present route of SR-18. San Bernardino lies in a valley formed by creeks that drain the nearby mountains; the Santa Ana River and Cajon Creek are mostly responsible for this. One result is that this valley made excellent farmland to to the fertile soil being washed down from the mountains, although farmland is rare to see now. It has been successful due to its position at the crossroads of the route going north and the route heading east. Today San Bernardino is the most populous city of the Inland Empire and it continues to grow as more people flee from the suburbs of Los Angeles and Orange County.
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
Varsity Boys - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Foothill Chris Schwartz 14:59.76 1 1 1
2. McFarland Alfonso Cisneros 15:33.49 2 2 1
3. McFarland Francisco Nava 15:48.44 3 3 2
4. McFarland Marco Perez 15:48.85 4 4 3
5. Stockdale Curtis Kelly 15:50.33 5 5 1
6. Ridgeview Brian Solis 15:50.81 6 6 1
7. Wasco A. Mendoza 15:51.72 7 7 1
8. Ridgeview Alex Garcia 15:52.70 8 8 2
9. Shafter Chris Handel 15:53.96 9 9 1
10. McFarland Gerardo Alcala 15:54.28 10 10 4
11. Shafter Jesus Villalpondo 16:05.48 11 11 2
12. Highland Colin Lewis 16:06.79 12 12 1
13. Centennial Nathan Vincent 16:08.77 13 13 1
14. Ridgeview Robby Baker 16:13.01 14 14 3
15. McFarland Eduardo Bautista 16:18.69 15 15 5
16. BHS Andrew Ariey 16:21.59 16 16 1
17. Garces Connor O'Malley 16:23.32 17 17 1
18. Stockdale Blair Slaton 16:25.15 18 18 2
19. Ridgeview Jerrio Lewis 16:25.61 19 19 4
20. East Jose Ramirez 16:25.97 20 20 1
21. East Mose Valdez 16:26.30 21 21 2
22. Highland Thomas Turner 16:26.59 22 22 2
23. Golden Valley Daymon Sandles 16:26.91 23 23 1
24. Foothill Jose Lopez 16:27.22 24 24 2
25. Ridgeview Miguel Munoz 16:30.13 25 25 5
26. Wasco G. Linares 16:34.10 26 26 2
27. Shafter Josh Wittenberg 16:34.61 27 27 3
28. Highland Jake Van Zandt 16:36.62 28 28 3
29. East Charlie Zaragoza 16:39.22 29 29 3
30. BHS Andrew Edquist 16:41.12 30 30 2
31. Cesar Chavez Martin Rios 16:45.91 31 31 1
32. Highland Ivan Esquivias 16:47.91 32 32 4
33. BHS Zachary Holt 16:48.98 33 33 3
34. Stockdale Anthony Dao 16:49.30 34 34 3
35. Cesar Chavez Ruben Galaviz 16:49.67 35 35 2
36. Wasco O. Mirando 16:50.04 36 36 3
37. Shafter Alex Moreno 16:51.14 37 37 4
38. Wasco E. Sanchez 16:52.02 38 38 4
39. Wasco E. Ramirez 16:53.29 39 39 5
40. East Camilo Mosqueda 16:53.84 40 40 4
41. East Vincente Herrera 16:54.31 41 41 5
42. Foothill Erick Bautista 16:54.82 42 42 3
43. Arvin Ben Orozco 16:57.57 43 43 1
44. Shafter Hector Montoya 17:01.02 44 44 5
45. Garces Jesus Guzman 17:02.28 45 45 2
46. Garces Michael Bedard 17:02.88 46 46 3
47. Frontier Tanner Urmston 17:03.48 47 47 1
48. BHS John Purcell 17:04.08 48 48 4
49. Centennial Ty Heiter 17:04.73 49 49 2
50. Frontier Richard Peralta 17:05.73 50 50 2
51. Shafter Cristian Barrios 17:07.93 51 51 6
52. Centennial Gehrig Smith 17:08.86 52 52 3
53. BHS Christopher Anderson 17:09.32 53 53 5
54. Highland Justin Burnett 17:10.77 54 54 5
55. Wasco J. DeJulian 17:11.97 55 55 6
56. Stockdale Stephen Burke 17:16.30 56 56 4
57. Arvin Juan Calderon 17:16.89 57 57 2
58. Wasco Cesar Patino 17:19.39 58 58 7
59. Cesar Chavez Tim Yanez 17:21.10 59 59 3
60. Highland Ariel Hurtado 17:23.69 60 60 6
61. North Adam Ralls 17:24.02 61 x 1
62. Ridgeview Michael Anseno 17:24.53 62 61 6
63. Ridgeview Jaime Madrigal 17:31.18 63 62 7
64. Foothill Patrick Manrique 17:32.75 64 63 4
65. Frontier Will Beechinor 17:33.57 65 64 3
66. East Alex Estrada 17:38.64 66 65 6
67. Burroughs Jesse Wigfield 17:38.99 67 66 1
68. Centennial Eric Millan 17:39.50 68 67 4
69. Burroughs Daniel Lathrop 17:39.91 69 68 2
70. Shafter Jacob Vasquez 17:40.47 70 69 7
71. Garces David Freed 17:40.91 71 70 4
72. Centennial Jake Howry 17:42.54 72 71 5
73. Burroughs Andrew Szczpiorski 17:44.05 73 72 3
74. Frontier D. Sclafani 17:47.26 74 73 4
75. Stockdale Max Morales 17:48.38 75 74 5
76. Burroughs Eduardo Carrillo 17:51.64 76 75 4
77. Burroughs Keith Christman 17:57.59 77 76 5
78. Golden Valley Jose Salgado 17:59.82 78 77 2
79. Cesar Chavez Rudy Sandoval 18:00.34 79 78 4
80. Centennial Brad Hinsley 18:04.58 80 79 6
81. Arvin Yessuri Villsenor 18:05.30 81 80 3
82. Burroughs Nathan Cheadle 18:10.33 82 81 6
83. Foothill Javier Garcia 18:11.22 83 82 5
84. Foothill Ernest Marquez 18:11.57 84 83 6
85. BC Kevin Yarian 18:27.47 85 84 1
86. North Chris Emmett 18:29.51 86 x 2
87. Cesar Chavez Andres Rodriguez 18:30.45 87 85 5
88. Tehachapi Corey Torres 18:32.16 88 86 1
89. Frontier Michael Sclafani 18:33.62 89 87 5
90. Garces Patrick Gomez 18:37.52 90 88 5
91. Highland Humberto Ramirez 18:37.98 91 89 7
92. Golden Valley David Gamino 18:40.22 92 90 3
93. Frontier Ricky Gonzales 19:03.13 93 91 6
94. Garces Chris Real 19:06.29 94 92 6
95. Stockdale D. Sherrill 19:08.29 95 93 6
96. Garces Dillon Lyles 19:16.75 96 94 7
97. Tehachapi Christian Torres 19:19.03 97 95 2
98. BC Mark McCutcheon 19:20:78 98 96 2
99. Golden Valley Nick Cruz 19:22.49 99 97 4
100. Golden Valley Daniel Perez 19:25.13 100 98 5
101. Foothill Christian Paredes 19:32.03 101 99 7
102. Arvin Adrian Rodriguez 19:32.67 102 100 4
103. BC Thomas Beard 19:59.04 103 101 3
104. West Michael Branquino 19:59.63 104 x 1
105. BHS Nick Flores 20:04.27 105 102 6
106. Tehachapi Logan Collier 20:07.47 106 103 3
107. Kern Valley C. Woodward 20:22.63 107 x 1
108. Arvin Christian Guerrero 20:31.41 108 104 5
109. Burroughs Daniel Meade 20:41.26 109 105 7
110. Golden Valley Ryan Davis 20:41.26 110 106 6
111. BHS Robby Harris 20:42.01 111 107 7
112. East Hector Fuentes 20:42.57 112 108 7
113. Frontier Alex Blanton 20:56.97 113 109 7
114. Cesar Chavez Joel Hernandez 21:02.22 114 110 6
115. Tehachapi Trent Sherman 21:02.94 115 111 4
116. Tehachapi Shaddi Haddad 21:18.14 116 112 5
117. BC Austin Adee 21:25.45 117 113 4
118. BC Aaron Stephens 21:31.77 118 114 5
119. Kern Valley J. Pistocco 23:15.37 119 x 2
120. Tehachapi Corey Hebron 23:19.78 120 115 6
121. West Kevin Serrano 23:48.05 121 x 2
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
March is apparently question month. To ask me a question, post a comment here: toddpage.livejournal.com/370916.html or send me a flickr mail. [Or leave it here if anomynity is not of any importance - the lj post comments are screened so that only I can see them]
All questions: Here
Question 5:What was it like, first realizing that you might be gay? When did you first wonder, when did you accept it, when did you act on it? How did you feel about it all?
The first time I realized I was gay I was 12 years old, taking a shower. I was not thinking about anything in particular, and out of nowhere, as I leaned to turn the water off, I realized: "Shit. I'm gay." I had never really lined things up. I knew I tended to try to help certain people at the store more than others. I'd never considered the fact that the ones I made efforts to help were men, had chest and facial hair, and were usually of a slightly larger build. [Yeah, even then I pursued the "bear" type.] All of a sudden things clicked into place. I was terrified. I hated it. I decided right then and there, that I would not be. I would not be gay. I would control it. Stop it. I could make this not be true, and like girls. I would find a woman, make her my wife, have kids and a dog, and live the straight life. There was nothing to say I couldn't fix this. And like that, I turned a switch in my mind off, and began some pretty hardcore denial. I still tended to help certain customers, and, suffice to say, I was not immune to knowledge of the internet. But somehow I managed to convince myself that despite the fact that I still gazed at men, I was straight. I wasn't aware of it even. I did denial extremely well, and forgot my discovery [until I was ready to deal with it.] It wasn't terribly difficult, honestly. Few people in my school interested me... in that way... and it would've been extremely complicated to be out at my all-boys catholic high school as it is. Either way, I ignored it. I went on one, awkward, date with my best female friend from high school. [Our theatre program did shows with the sister school's girls.]
My freshman year of college, I sunk further in, which led to my second realization. I dated a girl from my school who is a wonderful person, and very pretty, for about 2 weeks. Maybe 3. We'd hold hands, and cuddle when the group of us watched movies, and we went to dinner and a movie once. Every night, I'd walk her home to her dorm, and give her a hug, then walk to my dorm. Something missing from this situation? Ah, yes, at this point, we perhaps should have kissed. Something about it, the idea in itself, held me back. And the last evening... 2.5 weeks in, when it could be put off no longer, as she was my girlfriend at this point... I realized that I needed to kiss her good night. And as I leaned in to do so, it hit me again, in this order. "Oh, man... I really don't want to do this. FUCK. I'm gay." As I'm leaning in, I maneuver into what is clearly the worlds most awkward hug, and uncomfortably tell her "Good night"
Some history of me at this point. I am a pius, naive, freshman at a very conservative catholic college - my college was in fact #2 in the nation for most homophobic on the Princeton Review I have never touched alcohol, and at this point still believe I will not do so until I am 21. I go to church every sunday, and I go to "Prayer and Praise" every wednesday evening. As a general rule, I stop by the Harkins Hall chapel once every day or so because it is small, quiet, and I can pray there. I do all my homework in the chapel basement. I have hidden myself in this. I believe what I am told, but there is no strong faith behind it. It is a place I can fit in, where I know the rules and what is expected of me. At the same time I fight anyone who says that being gay is evil. [I HATE the word homosexual and homosexuality. It's so clerical.]
It is 2 am on a friday night, in late november, and I am now re-realizing I am gay. I am realizing that this may not be something for me to control. I am still very much hateful of the fact. This turns inward. I hate myself, and loath every part of me that makes me feel this way. I am already an outcast from most social situations, and awkward, the last thing I needed was this extra load. People would hate me. All of them. I'm sure of it. All my friends will leave me and hate me. I'll have to start enjoying shopping, and I'll probably have to listen to Madonna instead of punk rock. But no. Maybe this is still fixable. I had convinced myself that with great prayer, God could take this away. I started being more vigilant, praying daily, fixating myself on anything I could that would help me push away from this. I told the girl that something was up, and I needed to figure it out. She respected that, and I think knew EXACTLY what was up. I would cry in church, praying so hard that I shook, hoping and calling to God to let me find women attractive. Or at least to stop finding men attractive. Anything. Anything to avoid dealing with or accepting it, me. Somehow, this didn't work. Surprising, I know.
So, I had to deal with it. I had to start accepting me. That this was an uncontrollable aspect of who and what I was. It was a piece of me. It was something that had been created in me, like the color of my eyes, or the color of my hair. I turned to the internet. Looking at forums, and still looking for loopholes. I joined a forum for the young and gay and talked it through with people there. I talked with some people who had experience, [Bruin, creator of Bear With Me gave me an excellent X-Men analogy, that I remember specifically.] All of this occurred over the length of the second semester.
No one else knew at this point. I had come to a sort of shaky acceptance with it... but it was very weak. I wasn't confident in it, and I still hated it. I still didn't want it to be true, but I was at least aware that it was something outside of my control. Which, to be fair, is a big step in it's own. I was carrying it by myself though. Till a cast party. It was the second cast party for Brigadoon. There was a particularly homophobic person in the cast, who had written a letter in The Cowl the week before comparing homosexuality to cancer. As a joke, we had discussed one of the guys drunkenly kissing him. [We we're freshman, give us a break] This was the second time I had ever had alcohol, and I still hadn't learned how to drink, or how to control when I drink. My friend, Joe, suggests I do it, and I blurt out "No. Not until I come out."
And then I realize what I'd done, and leave. Joe follows me, and confronts me... I tell him it was a joke, and he rolls his eyes. It's the next day and we're having dinner when he asks me about it. And I slowly tell him that I thought it was true. I didn't know where on the kinsey scale I was [I'd recently discovered the scale, and I thought it was fancy] but I had a hunch it was true. At some point in the next month, the girl I'd dated asked me what had happened and I'd told her too. That was two people. And I had told them I was still not sure. Come graduation week. I was really the only person in my group of friends on campus for the week, and I read books the entire time. I read Augusten Burrough's 'Running with Scissors', then Dry, then David Sedaris' "Me Talk Pretty One Day" Believe it or not, these were the first books I'd read about or by gay people - at least to my knowledge. I was still looking for loopholes but I was recognizing that other people were like this, and they managed to survive life. I started gaining a little bit of confidence. I went home for the summer and, very shyly, got the 2 books on gay subjects out of my library, and read through them, looking for understanding. Looking for some kind of knowledge about who and what I was. I tend to read about things before I go into them. Alot.
Somehow, I decided I was ready to come out to my parents. I don't know if I decided I was ready, or if I decided it was the right thing to do. This was a horrible decision at this time, because my confidence levels were still extremely low. I nervously and carefully sat them down at the dinner table, feeling my heart in my chest. Terrified. The second or third most awful feeling I've ever felt. And I told them "I think I'm gay." I had prepared for various responses, based on my books, but life, surprisingly [sarcasm], doesn't run like books. They did not express hate, or anger, and told me that they would never love me any less... but that they did not think I was gay. That perhaps it was a phase. That everyone questioned it at some point or another, and that I needed more time to know for sure. Essentially, that the conclusion I had clawed my way too, was wrong. I didn't know how to respond, and instead of standing my ground, conceded that it was possible. We made dinner and watched Shrek. [My parents, by the way, are amazingly supportive people, who I have put through a lot, and who love and accept me for who I am, through everything I've done. They take the details of my life quite well. I don't want anyone thinking less of the two wonderful people who brought my life. This is something that for them, as for me, would take some adjusting to. And they have adjusted to it, now, and support me fully]
Nothing further was said. The response I'd received had shaken the confidence. I still knew I was attracted to guys, but what happened from there? I told another friend, a close female friend from PC, and her response was amazing. She told me she was proud of me for coming to terms with it, and that she was so happy for me. She was so... supportive. The people I'd told so far had expressed acceptance... but this was the first time support in it had come. It was surprising, and my confidence in myself and my ability to cope with it grew. I went back to school and started talking a little less furtively. And on October 10th, I got an IM from Joe: "So... tomorrows national coming out day... you gonna tell everyone?" I had never even thought about telling the rest of my friends. "I guess so. Might as well now, gonna have to do it eventually, right?" "Yup." I then sent the girlfriend an IM telling her my plan.
So, yeah. I came out on National Coming Out Day. Not because of the holiday, but because the holiday had kind've reminded me that it was something I should do. All my friends were in the cafe, eating lunch, and before some left for class, I said "I have to say something." *silence* "I'm queer."
Oh, how I regret saying "I'm queer". I had chosen it carefully, it was an umbrella term, and it allowed me retreat, should things turn a direction that I didn't favor. 3 or 4 raised their eyebrows in shock, 2 laughed. [Kaitlin told me later her exact reaction was "Well, yeah."] Only 1 person in my group of friends reacted poorly... and she kind've cast herself away. I still don't talk to her. It was kind've amazing. I could start talking about all the shit I had bottled up openly, and I didn't have to fit any mold. I was, amusingly, now requested by friends to do things like go to the mall, or go dancing. I think this was hilarious. I had not been hiding any desires or actions... so upon coming out I still hated shopping, and still, for the most part, was not interested in an evening of dancing. Still my confidence grew, and I got to be really okay with it. I started having recognizable crushes, and though I was still uncomfortable with some aspects, I made progress.
That covers all of the acceptance bit. It's still a process for me in some ways. I notice I have this instinct within me to push against anything stereotypical. I refused to listen to Madonna, or Cher... would not even give them a try, and I still respond to some "gay" things with a negative attitude. I'm working on this. I recently listened to Madonna, to give it a chance. I still don't really like it, but at least now I've given it a chance. I mean, the girl has some definite pipes... and Like a Prayer is hella fun, but it's just not something I'd listen to for the hell of it. I'm teaching myself to recognize that doing things that are stereotypical aren't bad, as long as you aren't doing them to fit the stereotype. And not doing them to avoid the stereotype is just another way of letting the stereotype control you.
When I first acted on it is a tricky business. There had been some minor flirting, back and forth, with a freshman named ... gah, we'll say Alex. Alex was bearish, and cute, but personality-wise, not at all a match for me. As has been discussed, this is important. I was not really interested, and had tried to express that in nice ways... or avoid it anyway. We did crew together for a show called My Sister In This House, and at the second cast party, I had a lot of beer. Like, A-LOT. This was probably my 7th time ever drinking [ a year later ] and I was pretty hammered. Okay, very hammered. I was blurrily aware of the goings-ons, it was very late, and few people we're left at the gathering. I was warm, and I came to realize it was because Alex was standing behind me, with his arms around me. It felt nice, and I was hammered, so I let it occur. Then he started to pull me into the room where no one else was. A little something triggered in my brain, and I resisted. But another tug and I followed. We were standing in the room when this exchange happened:
Alex: "You're beautiful."
Me: *pause* "You smell like soap."
Alex: "Is that a good thing?"
Me: *long pause* "Yes."
At this point, he licked the back of my neck, which felt nice, but weird, but didn't have much [drunk] time to recognize it, as he leaned in and put his tongue straight in my mouth.
This woke me up pretty quickly. I'm pretty glad, too, had it been a subtle kiss first, I might have a story I'd regret. Who knows though. I told him "No." and he asked me if that meant just now, or ever. I said I didn't know.
He didn't talk to me for a year. I'm not entirely sure I blame him. I'm not sure if that counts as acting on it, as I was barely aware, and didn't really act except for to realize I was not comfortable with it. But it was my first kiss, regardless. My first real acting on it was a year later. February of my junior year of college, and began with a meeting for coffee, then a kiss in a Chili's parking lot. It moved forward from there into my first relationship.
To sum up: Ages 12 and 18, never really wondered, it just HIT me, 19 and 20, and I hated it. Alot. I don't anymore though. I'm really actually comfortable with it now. I like that it's a part of me, and I no longer feel any desire to change it. I don't believe in gay pride, because I think it's something embedded within me, just like I wouldn't be proud of having blue eyes, I wouldn't be proud of being gay... but I do embrace it as a part of me, and support it. I am comfortable with who I am, finally, at 22, and it feels glorious. I've gotten beyond accepting it, and I support it in myself. Whenever you read about people's coming outs, they always refer to coming out to themself first. I think we can add a step and that is supporting themself in that. I am finally there. Not without my share of work left to accomplish further, but I have made great progress, and I feel certain I will make more in times to come.
[This photo was taken in my actual closet, PS... it was supposed to be a photo reflecting the "in the closet" thing - also, I don't take the time to edit any of these. [the text, that is]]
[self-portrait]
//========================
This account is officially actively taking part of Year 2 of my 365 project.
3/7/09
Believed to be in Public Domain From Library of Congress, Prints and Photographs Collections. More on copyright: What does "no known restrictions" mean?
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For information from Creative Commons on proper licensing for images believed to already be in the public domain please-- click here. By using this image from this site, you are acknowledging that you have read all the information in this description and accept responsibility for any use by you or your representatives. You are accepting responsibility for conducting any additional due diligence that may be necessary to ensure your proper use of this image.
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Public Domain. Suggested credit: Library of Congress via pingnews. Additional information from source:
TITLE: Berlin. Reichstagsgebäude
CALL NUMBER: FOREIGN GEOG FILE - Germany--Berlin (West--Buildings--Reichstagsgebäude (Hall of the Imperial Diet) [P&P]
REPRODUCTION NUMBER: LC-USZC4-2802 (color film copy transparency)
LC-USZ62-7446 (b&w film copy neg.)
SUMMARY: The Reichstag, Berlin.
MEDIUM: 1 photomechanical print : photochrom, color.
CREATED/PUBLISHED: [between 1890 and 1900]
NOTES:
No. 1970, Photoglob Zürich.
SUBJECTS:
Germany. Reichstag--1890-1900.
Government buildings--Germany--Berlin--1890-1900.
FORMAT:
Photochrom prints Color 1890-1900.
REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA
DIGITAL ID: (color film copy transparency) cph 3g02802 hdl.loc.gov/loc.pnp/cph.3g02802
(b&w film copy neg.) cph 3a10095 hdl.loc.gov/loc.pnp/cph.3a10095
CARD #: 93517365
www.capitalgems.ca/aylmer-hydro-ruins.html
The Aylmer hydro ruins is located near the Deschênes Rapids. They are hard to miss since the path hugs the shore of the Ottawa River in the area next to the rapids. There are several places to stop and check things out, one of these offers a great view of the ruins of an old dam structure that was built in the late 1800s to harness hydroelectric power from the rapids. If the water is high and running fast (typically in spring), it is truly an impressive sight to see the force of the Ottawa River as it runs through these ruins. It is worth noting that there were plans to rebuild this dam across part of the river as recently as ten years ago (plans to do so fell apart in the face of local opposition).
[...]
In 1821, after the amalgamation of the North-West Company and the Hudson’s Bay Company, Hamar Hubble Day, an old fur trader, opened a small trading post on the Deschênes Portage. He went into business with another petty trader, Murdock McGillivray, and together until 1832 they traded furs in the Allumettes Lake Region and as far up as Lake Timiskaming. Having lost money in his dealings, Hamar Day broke off his association with McGillivray and left the Ottawa Region. The McConnell Brothers, who were very active in the timber industry on the Upper Ottawa, took up from where Day had left off and became part-time fur traders on the side. This lasted until approximately 18473.
H. Day operated a sawmill, a forge and a fulling mill at the Deschênes Rapids around 1828. Around 1840, Robert Conroy Senior seems to have followed in Day’s footsteps. Later on, around 1870, his two sons, Robert and William Conroy, had a large new sawmill built. From 1884 to 1888, they carried out improvements to increase the sawmill’s output capacity. During the same period, Narcisse Cormier operated a flour mill there. Wheat, oats and buckwheat, harvested by the region’s farms, were milled locally at Deschênes.
In 1895, the Deschênes Rapids industrial site was radically transformed. The site’s hydraulic powers were harnessed to produce electricity. The main shareholders of the Hull Electric Railway Company where William Conroy of Aylmer and Mr. Seybold of Ottawa. They decided to have a dam and hydro-electric power station built to supply electricity to the Town of Aylmer and to power the electric tramway network that was being planned to connect Aylmer, Hull and Ottawa. In 1899, the Canadian Pacific Railway bought out the Hull Electric Railway Company and ran it until 1926, when it was sold out to Canadian International Paper. In 1946, when the Hull Electric Company closed down, the Gatineau Power Company, a subsidiary of the CIP, was in charge of the site’s management.
Aylmer; Gatineau, Quebec.
Explore: Aug 13, 2008 #409
I am the flag of the United States of America.
I was born on June 14, 1777, in Philadelphia.
There the Continental Congress adopted my stars and stripes as the national flag.
My thirteen stripes alternating red and white, with a union of thirteen white stars in a field of blue, represented a new constellation, a new nation dedicated to the personal and religious liberty of mankind.
Today fifty stars signal from my union, one for each of the fifty sovereign states in the greatest constitutional republic the world has ever known.
My colors symbolize the patriotic ideals and spiritual qualities of the citizens of my country.
My red stripes proclaim the fearless courage and integrity of American men and boys and the self-sacrifice and devotion of American mothers and daughters.
My white stripes stand for liberty and equality for all.
My blue is the blue of heaven, loyalty, and faith.
I represent these eternal principles: liberty, justice, and humanity.
I embody American freedom: freedom of speech, religion, assembly, the press, and the sanctity of the home.
I typify that indomitable spirit of determination brought to my land by all my forefathers...
I am as old as my nation.
I am a living symbol of my nation's law: the Constitution of the United States and the Bill of Rights.
I voice Abraham Lincoln's philosophy: "A government of the people, by the people,for the people."
I stand guard over my nation's schools, the seedbed of good citizenship and true patriotism.
I am displayed in every schoolroom throughout my nation; every schoolyard has a flag pole for my display.
Daily thousands upon thousands of boys and girls pledge their allegiance to me and my country.
I have my own law—Public Law 829, "The Flag Code" - which definitely states my correct use and display for all occasions and situations.
I have my special day, Flag Day. June 14 is set aside to honor my birth.
Americans, I am the sacred emblem of your country. I symbolize your birthright, your heritage of liberty purchased with blood and sorrow.
I am your title deed of freedom, which is yours to enjoy and hold in trust for posterity.
If you fail to keep this sacred trust inviolate, if I am nullified and destroyed, you and your children will become slaves to dictators and despots.
Eternal vigilance is your price of freedom.
As you see me silhouetted against the peaceful skies of my country, remind yourself that I am the flag of your country, that I stand for what you are - no more, no less.
Guard me well, lest your freedom perish from the earth.
Dedicate your lives to those principles for which I stand: "One nation under God, indivisible, with liberty and justice for all."
I was created in freedom. I made my first appearance in a battle for human liberty.
God grant that I may spend eternity in my "land of the free and the home of the brave" and that I shall ever be known as "Old Glory," the flag of the United States of America.
Liberty State Park
Jersey City, NJ
Format: Litografi (etter fotografi)
Utgivelsesår / Published: 1914 (Vore Høvdinger 61)
Utgiver / Publisher: F. Bruns Bokhandels Forlag, Trondhjem
Wikipedia: Johan Svendsen (1840-1911)
Salmonsens konversationsleksikon: Johan Severin Svendsen (1840-1911)
Eier / Owner Institution: Trondheim byarkiv, The Municipal Archives of Trondheim
Arkivreferanse / Archive reference: Ila skole, Va - F9394
Fra Salmonsens konversationsleksikon:
Svendsen, Johan Severin, norsk Komponist og Dirigent, f. 30. Septbr 1840 i Oslo, d. 14. Juni 1911 i Kbhvn. Han lærte tidlig at spille Fløjte og Klarinet, men særlig Violin, som han havde betydelige Anlæg for. Senere spillede han snart i Teaterorkestre, snart til Dans og rejste 21 Aar gl ud som koncerterende Violonist. 1863 kom han til Konservatoriet i Leipzig, hvor han under Lærere som Hauptmann, David, Richter og Reinecke hurtig udviklede sine rige Evner. Samtidig komponerede han flere Værker, der vakte den største Opmærksomhed. 1867 forlod han Konservatoriet og Leipzig med et Navn, hvoraf der allerede stod Glans og Respekt, men allerede Vaaren 1868 drog han til Paris, og Opholdet her blev af den største Bet. for ham. Som Musiker virkede han i Odéon-Teatret, hvor han baade som Violinist og Orkesterarrangør snart tiltrak sig alm. Opmærksomhed. Han begyndte her paa den symfoniske Indledning til »Sigurd Slembe«, skrev Violinkoncerten Op. 6 og nogle Orkesterbearbejdelser af Liszt og Schubert. Kort før Udbruddet af den fransk-tyske Krig 1870 drog han til Leipzig, hvor han modtog det ærefulde Tilbud om at overtage Koncertmesterposten i »Euterpe«. Sæsonen 1870—71 dirigerede han sin D-Dur-Symfoni i »Gewandhaus« og opnaaede baade som Komponist og Dirigent en fuldstændig Succes. Han skrev i denne Tid Violoncelkoncerten Op. 7. Høsten 1871 overtog han for et Aar Dirigentposten ved »Euterpe«-Koncerterne, fuldendte den symfoniske Indledning til »Sigurd Slembe«, der saa blev opført i »Euterpe«, og i Løbet af Vinteren blev Violinkoncerten spillet i »Gewandhaus« af Robert Heckmann. Efteraaret 1872 vendte han hjem til Oslo. Her havde Edvard Grieg Aaret før stiftet Musikforeningen, der vel trængte til den Støtte, den kunde faa i S.’s overlegne Evner som Dirigent; dels sammen med Grieg, dels alene ledede han nu Foreningens Koncerter, der fik nyt Liv. Ved Siden heraf udfoldede han megen Virksomhed som Lærer, samtidig som han komponerede flittig. Fra Efteraaret 1872 til Foraaret 1877 skriver sig: »Sørgemarch« over Karl XV, Orkesterlegenden »Zorahayda«, Op. 11, Kroningsmarch og den store Festpolonæse, flere Bearbejdelser af Folkeviser for Strygeorkester, Orkesterfantasien »Romeo og Julie«, Op. 18, de »4 norske Rapsodier«, Op. 17, 19, 21 og 22, hans 2. Symfoni, B-Dur Op. 15, og Lejlighedsarbejdet »Norsk Kunstnerkarneval«. Efteraaret 1877 drog S. atter til Udlandet. I Leipzig dirigerede han i »Gewandhaus« sin anden Symfoni under stort Bifald, og 1878 opførtes i London hans Kammermusikværker, Oktetten, Kvintetten og Kvartetten under stort Bifald. Efteraaret s. A. slog S. sig ned i Paris, hvor hans Kammermusikværker opførtes i Koncertselskabet La Trompette, og en af hans norske Rapsodier spilledes hos Pasdeloup. 1880 vendte han saa hjem og overtog samme Efteraar atter Ledelsen af Musikforeningen i Oslo. For Udviklingen og Forstaaelsen af Instrumentalmusikken som for norsk Musikliv i det hele har S.’s Ledelse af Musikforeningen i Oslo været af den største Bet., og Førsteopførelsen for Norge af flere af Musiklitteraturens største Værker, blandt andet Beethoven’s 9. Symfoni, er knyttet til S.’s Navn. Oktbr 1882 gav han i Kbhvn to Koncerter, som til fulde bekræftede hans Ry som ypperlig Dirigent og tillige gav Anledning til, at han Sommeren 1883 modtog Tilbudet om at blive Kapelmester ved det kgl. Teater i Kbhvn. Foraaret 1886 gav han saa sin Afskedskoncert i Oslo under den varmeste Tilslutning fra Publikums Side, og efter et Besøg i Sthlm, hvor han for første Gang optraadte, og hvor han under begejstret Bifald gav to Koncerter paa den kgl. Opera, flyttede han Sommeren s. A. til Kbhvn. Under sin Stilling som Kapelmester ved det kgl. Teater udfoldede S. en betydelig Virksomhed. Af dram. Arbejder, som under ham er komne til Opførelse for første Gang, skal her foruden en Række ny danske Operaer nævnes Wagner’s »Den flyvende Hollænder«, »Valkyrien«, »Siegfried« og »Ragnarok«, Verdi’s »Othello«, »Falstaff« og »Aïda« og en Række ny ital. og fr. Operaer. Ved Siden af Teatervirksomheden gav han stadig hvert Aar flere store Orkesterkoncerter, hvor foruden Klassikerne betydelige, særlig russ. og fr., Værker er komne til Opførelse, og endelig blev der lagt stort Beslag paa hans Tid og Kræfter som Overdirigent for de kbhvn’ske Mandssangforeninger. Under sit Ophold i Kbhvn fejrede han gentagne Gange Triumfer baade som Dirigent og Komponist i Europas store Byer, som Wien, Petrograd, Moskva, London, Bryssel, Helsingfors etc. Paa de nordiske Musikfester i Kbhvn 1888 og i Sthlm 1897 optraadte han, ligesaa ved Musikfesten i Bergen 1898 og ved de norske Koncerter i Paris 1900, ligesom han gentagne Gange besøgte sin Fødeby, hvor han optraadte i Musikforeningen og paa Nationalteatret. 1908 tog han efter 25 Aars Tjeneste Afsked fra det kgl. Teater i Kbhvn.
S. var som skabende Kunstner en sjældent harmonisk udviklet Personlighed, og det frejdige, aabne, friske og mandige, som særlig karakteriserer hans Tonedigtning, staar i nøje Sammenhæng hermed. Allerede i hans første Opus dækker Form og Indhold hinanden fuldstændig, der er ingen Famlen, intet Forsøg paa unaturlig Opskruen ell. forloren Dybsindighed; det er sund, kraftig, ærlig og bevidst Kunst. Og som han begyndte, fortsatte han. De korte, friske og skarptskaarne Motiver bliver vel med Aarene betydeligere og dybere, men de udvikles inden for den klassisk-symfoniske Forms Ramme altid paa samme klare Maade, uden Overlæsselse og unødige Sidespring. Han ejer vel ikke det store patetiske Drag, men en mandig, dyb og varmtstrømmende Lyrik, som særlig i de langsomme Satser af hans Symfonier og Kammermusikværker finder de skønneste Udtryk. Hertil kommer et Fond af Humor, der snart som i Scherzoen giver sig Udslag i elskværdigt, smittende Lune, snart kan stige til overgiven Munterhed som i »Pariser-Karnevalet«. Et mesterligt Herredømme over alle instrumentale Udtryksmidler giver det hele Relief. S.’s Tonedigtning bæres rytmisk, melodisk og harmonisk helt af en national Understrøm; den er med de brede, klare Linier, friske Lyrik, lyse, lune Humør helt østlandsk.
S. modtog mange Udmærkelser og var bl. a. Medlem af »Kgl. musikaliska akademien«, Stockholm, »Matschappij tot bevordering van toonkunst«, Holland, Philharmonic society, London, Institut de France (Académie des Beaux-Arts), Académie royale des Sciences, des Lettres et des Beaux-Arts, Belgien. (Litt.: Aimar Grønvold, »Norske Musikere«; »Biogr. Leksikon«, XVII).
I. H.
Our Lady & The English Martyrs, Cambridge
stepneyrobarts.blogspot.co.uk/2013/02/our-lady-english-ma...
Yesterday I revisited St Peter for internals and finished of Cambridge, visiting seven Victorian built churches only one of which, Our Lady & The English Martyrs, is worth writing up.
At first sight I wrote OLEM off as a Victorian Gothic monstrosity but as I wandered around the exterior I was struck by the quality of the building and the interior stunned me with lots of rather good glass and impressive architecture (oh and apart from three revisits, Babraham, Guilden Morden and Stow cum Quy, that finished the north west quadrant).
The Church of Our Lady and the English Martyrs, or OLEM, is situated in the heart of the city of Cambridge. An imposing example of the 19th Century Gothic Revival, it was built to the designs of Dunn & Hansom of Newcastle between 1885 and 1890, and founded solely by Mrs Yolande Marie Louise Lyne-Stephens, a former ballet dancer at the Paris Opera and Drury Lane, London, and widow of a wealthy banker. She promised to build the church on the feast of Our Lady of the Assumption, and Monsignor Christopher Scott - the first Rector - also wished to commemorate the Catholic Martyrs who died between 1535 and 1681, over thirty of whom had been in residence at the University.
Designed by architects Dunn and Hansom of Newcastle and built by the Cambridge firm of Rattee and Kett, OLEM is constructed in Casterton, Ancaster and Combe Down Stone. The church is a traditional cruciform structure in the early-decorated style with a large tower at the crossing, a polygonal apse and a west bell tower with a 65-metre spire, visible for miles around Cambridge. Quite often, it is quoted by visitors and local residents as a location point. The approximate internal dimensions of the church are: length 48 meters [156 ft] width across the aisles 16 meters [51 ft] width at the transepts 22 meters [71 ft], the height of the nave 15 meters [71ft].
Inside and over the west door stands the figure of Our Lady of the Assumption crowned with lilies and standing on the crescent moon with the vanquished serpent beneath. The west window shows the English Martyrs arranged in two principal groups, the clergy on the south side with St John Fisher in their midst and the laity on the north grouped round St Thomas More.
Beside the South aisle is an ancient statue of Our Lady with the Child Jesus. This statue is understood to be a gift in 1850 from Emmanuel College, which was built on the site of a Dominican Priory dating back to 1274. The Church of the Black Friars of Cambridge contained a statue of Our Blessed Lady to which much pilgrimage was had. Although unconfirmed this could be that statue.
The Chapel of the Holy Souls with the book of Remembrance is located at the west end of the south aisle. The sculpture above the altar depicts the solace and relief of the Holy Souls in Purgatory through the intercession of Our Lady and the angel who comforted Our Lord in Gethsemane. The Chapel is now appropriately used at the two great Christian celebrations: at Easter for the Empty Tomb indicating the Risen Lord, and at Christmas for the Crib.
The aisle windows were almost completely destroyed when the church was struck by a bomb on 1941, but were subsequently replaced in their original form. They epitomise the various sufferings of the English Martyrs, their being brought before the Council, racked, hung, drawn and quartered in the sight and sympathy of the faithful. The windows of the north aisle portray Carthusians, St Thomas Moore, B. Margaret Pole and others, while the south aisle is made a “Fisher Aisle”, devoted to scenes from the life of St John, Cardinal Bishop of Rochester, who in so many important ways is identified with Cambridge.
The best general impression of the interior is obtained from the gateway in the iron screen dividing the nave from the ante-chapel. The heads of the four great preachers of Our Lady’s Graces are carved in the four corners of the nave. The windows along the nave represent saints connected with the Church in Britain, arranged approximately in chronological order from east to west with a few additional figures in the eastern windows.
The Rood which is between the nave and the sanctuary is of the type known as “Majestas”; the figure of Our Lord, with glorified wounds, robed in alb, stole and pallium [as High Priest] and crowned [as King “reigning from the Tree”]. This was the earliest type of crucifix; the realistic figure, now almost universal, did not come into general use until the beginning of the thirteenth century. The cross, inspired by that at Nuremberg, is about 6 metres high, carved in oak; the figures of Christ and of Our Lady and of Saint John are of Kauri pine. They were carved locally by Mr. B. Maclean Leach and completed and blessed in 1914.
Beyond the present, modern altar is the High Altar with the relics of Saints Felix and Constantia, martyrs of the early Church. The tabernacle and ornaments of the altar are of exquisite French workmanship from Lyons. The baldacchino which covers the High Altar is similar to that over the tomb of Robert the Wise (1275-1343) at Santa Chiara, Naples. It is one of the earliest forms of adornment of a Christian altar. At the top is the figure of Our Lord in glory supported on each side by angels in act of adoration.
The design and the re-ordering of the sanctuary was done by Mr. Gerard Goalen of Harlow after the Second Vatican Council. On 7th April, 1973, Bishop Charles Grant consecrated the present central. The original High Altar has subsequently been used mainly for reservation of the Blessed Sacrament.
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
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